Life is Strange: Beyond This Isle
by roblentz
Summary: Set before Life Is Strange but after Before the Storm in an alternate universe, Chloe Price, an angsty, rebellious and hopeless-romantic high school dropout, and Rachel Amber, a passionate, alluring and budding drama star, finally move forward on a plan to escape the shackles of their broken Arcadia Bay homes for New York City.
1. Episode One: No Going Back

BEYOND THIS ISLE

Season 1, Episode 1

"NO GOING BACK"

Written by

Robert Lentz

Based on characters from the "Life is Strange" series of video

games created and developed by DONTNOD Entertainment and Deck

Nine, copyright Square Enix.

rob_lentz on twitter, instagram, AO3

roblentz on FFnet

writtenbyroblentz on tumblr (updates on following episodes will be here)

robcotrproductions on reddit

* * *

.

* * *

 **TEASER**

EXT. HOBOKEN - ESTABLISHING - NIGHT

Darkness envelopes the sky.

A picturesque, postcard-photo worthy view of New York City's world famous skyline.

The engine of some sort of truck HUMS for a moment, then stops. Doors CREAK open, and SLAM shut.

EXT. HOBOKEN - CONTINUOUS

CHLOE PRICE (19), an effortlessly pretty girl - short blue hair descends near her shoulders, grunge inspired clothes breathe life into an otherwise normal girl. Intricate floral tattoo on her right arm. She could be a model, if she tried... But she _doesn't_ try, and that's beautiful in its own right.

RACHEL AMBER (19), the antithesis to Chloe's lax appearance - long, straight, light brown hair descends to her mid back, large, fashionable winter jacket fits snugly around her. Star tattoo on her inner left wrist and a dragon on her right calf. She _is_ a model and she _does_ try... an admirable and similarly beautiful trait.

Hands locked together, they stand behind the handrail.

RACHEL

It's beautiful, isn't it?

CHLOE

I've never seen anything like it.

RACHEL

Reminds you that there's a whole

world out there, outside of Arcadia Bay.

CHLOE

A whole world that we're gonna see. Together.

They lean in for a long, passionate kiss. But this one's different - it feels new. Fresh. Confident.

 **END TEASER**

* * *

 **.**

* * *

 **ACT ONE**

EXT. PRICE HOUSE - ESTABLISHING - MORNING

SUPER: "One Month Earlier"

The unmistakable view of the Price family home - top half of the low-middle class suburban house painted a vibrant but fading blue, bottom half still the original beige.

A polished, baby blue muscle car in the driveway, hood raised-

DAVID MADSEN (40s), Chloe's step-dad, the hardened military man, wears a plaid button down shirt tucked into blue, regular cut jeans, military-inspired haircut and a divine, thick, manly mustache works on... something under the hood.

INT. CHLOE'S ROOM - ESTABLISHING - SAME

Some indie band's music hums softly from a speaker system.

The room's wooden floors are barely visible under the mess of dirty clothes, discarded papers and other debris.

A small, metal box sits snugly under the bed.

A relatively antique stereo system next on a small bookshelf, green bars fluctuating on the tiny screen.

Atop an old television lies an older POLAROID CAMERA, a blanket of dust covering the entire thing - it hasn't been touched in years.

* * *

INT. CHLOE'S ROOM - CONTINUOUS

On the wide double bed lies Chloe Price, bags under her eyes, hair absolutely disheveled. Still wearing the same tank-top and skinny jeans from yesterday. She hasn't slept.

A joint rests between her fingers, ash tray on the end table next to her. An alarm clock next to it reads "7:30" in red, blocky numbers.

She takes a puff of the joint, thick grey smoke spouts into the room. Chloe sighs as she gazes at the alarm clock.

CHLOE

Fuck me.

Suddenly, three loud KNOCKS pound on the room's door.

DAVID (O.S.)

Chloe? Is that marijuana I smell?

Chloe?

Chloe quickly jumps up from bed, carefully puts the joint out in the ash tray.

She takes the ash tray and tries to put it... somewhere.

Anywhere.

CHLOE

Fuck. Shit. Fuck.

Clutter covers every inch of every possible hiding spot.

The door swings open. Chloe stands their, ash tray in hands, deer-in-headlights expression overtaking her face.

DAVID

What did I tell you about abusing

drugs in my home?

CHLOE

Paranoid, much? It's just a

cigarette.

DAVID

Cigarette my ass. I know what

marijuana smells like, Chloe.

CHLOE

So that makes it okay to barge

into my room like this?

DAVID

Changing the subject. Common tactic that

signifies guilt. Just wait until your

mother hears about this.

Chloe visibly doesn't give a fuck.

DAVID (CONT'D)

Get your ass ready. Work starts in half an hour.

He closes the door on his way out.

Chloe puts the ash tray back on the end table.

She re-lights the joint and takes a long drag, her free hand flips the bird at the door.

CHLOE

Asshole.

* * *

EXT. BLACKWELL ACADEMY - ESTABLISHING - MORNING

A relatively large, brick school institution towers over a fine, well kept courtyard at the edge of Arcadia Bay, bordering a gorgeous, dense green forest.

STUDENTS sparsely scattered around the courtyard. Some skateboarding, some doing homework, some playing Dungeons and Dragons.

A bronze statue of Jeremiah Blackwell, the school's founder, stands tall and proud at the center of a fountain.

On the edge of the fountain sits VICTORIA CHASE (18) and NATHAN PRESCOTT (18).

Victoria is the archetypal "mean girl" - well maintained, fine golden blond hair, an outfit worth hundreds of dollars. Cashmere.

Nathan has a similar vibe to him - extravagantly wealthy, but slightly more unconventional. A little anxious.

NATHAN

You know I'm her friend, right?

VICTORIA

Not sure how. Fucking slut.

Nathan shakes his head and walks away from Victoria, into the school.

A small but expensive four-door car parks at the base of the steps, opposite the main building.

* * *

INT. AMBER CAR - SAME

District Attorney JAMES AMBER (40s), Rachel's father, sits behind the wheel. He wears a crisp, perfectly fitted black suit, haircut high and tight. He means business.

Rachel in the passenger. An awkward silence, until-

RACHEL

Dad. Dad. It's Friday?

James stirs, as if he forgot.

JAMES

Oh. Right.

He sighs as he reaches into his suit jacket's inner pocket - removes a check and reluctantly hands it to his daughter.

RACHEL

Was that really so hard?

JAMES

Of course not. Anything for my

world.

He halfheartedly smiles.

Rachel rolls her eyes as she steps out of the car, to-

* * *

EXT. BLACKWELL ACADEMY - CONTINUOUS

She nonchalantly heads up the steps, backpack haphazardly hanging off one shoulder.

As Rachel makes it onto campus, heads turn in awe - all the boys _and_ girls stare at her, captivated, as if she's on a runway and they're on the sidelines.

Everyone, except Victoria.

Victoria gets right in Rachel's way as she passes the fountain.

VICTORIA

Rachel Amber. How are you?

RACHEL

What do you want, Victoria?

VICTORIA

Oh, nothing. Just think you look

beautiful today.

RACHEL

Sure.

VICTORIA

Oh, right, and I heard

some rumors about you.

RACHEL

Did you?

VICTORIA

Word on the street is

Rachel Amber is into some hard shit.

RACHEL

What street is that?

VICTORIA

That's not- the point is... Frank

Bowers. I mean it's obvious.

Rachel tries to push past her. Victoria doesn't let her.

RACHEL

Look, Victoria, I'd love to stay

and chat, but-

VICTORIA

You have class? Thought you were

too edgy to show up, what with

your punk slut, Kiara Price and all?

RACHEL

What did you-

VICTORIA

Or is it Colleen Price? Is she,

like, your fixer-upper? The dead

dad thing? Or is sex with a

deadbeat druggy hotter than it

sounds?

Rachel slaps her... hard. Right across the face.

Victoria recoils, hand against her cheek.

Students stare, totally shocked.

RACHEL

Get the fuck out of my way.

Victoria steps aside as Rachel struts into Blackwell.

Face more red than before, Victoria stands there - hand on her cheek, mouth agape.

* * *

INT. CHLOE'S ROOM - MORNING

Only the reflection of Chloe's room in a mirror, until-

Chloe steps in front wearing a Two Whales Diner uniform.

She stares at herself, not amused whatsoever.

CHLOE

Fuck my life.

* * *

EXT. TWO WHALES DINER - ESTABLISHING - MORNING

The vintage diner sits on the side of the road.

A giant blue whale sign stands tall on the roof of the building, bottom text reads: " _Two Whales_ DINER"

Chalk sign near the stairway in reads: "Yes! We're OPEN!"

Chloe turns into the near-full parking lot and parks her pick-up, gets out, and heads up the stairs to-

INT. TWO WHALES DINER - CONTINUOUS

She pushes the metallic door open and steps into the claustrophobic diner. The place is packed.

JOYCE PRICE (40s), Chloe's tired and underappreciated mother, wearing the same Two Whales uniform and white apron as Chloe, works behind it, taking orders.

She looks up, for a moment- her eyes lock with her daughter's.

Chloe checks her phone: "7:15 AM".

She takes her apron off her shoulder and quickly ties it around her waist.

CHLOE

(under breath)

Here we go.

Joyce's heels click loudly as she approaches Chloe, disappointed look ingrained in her face.

JOYCE

Nice of you to show up.

CHLOE

What, not happy to see me?

JOYCE

Would've been happy fifteen minutes ago.

CHLOE

Better late than never.

JOYCE

Only the first time. Doesn't apply for the tenth.

CHLOE

Look, I'm sorry. I slept through

my alarm and-

Joyce stares into Chloe's bloodshot eyes.

JOYCE

-Are you kidding me?

CHLOE

What?

JOYCE

Your eyes are blood

red. Are you high?

CHLOE

No. Why would you even-

JOYCE

-I'm sick of all these lies, Chloe.

You smell worse than a damn dispensary.

CHLOE

Sorry.

JOYCE

No, I'm sorry. You're fired.

CHLOE

Are you fucking joking?

JOYCE

The whole point of this job was to

set you straight. Get you back on track

and line your pockets a bit.

And this is how you thank me? Tardy

ten times in a single month and

you show up high to work?

CHLOE

Mom, I-

JOYCE

-No. This is a real job, Chloe, in the

real world. How do you expect to

leave Arcadia Bay and make it

on your own, huh? It's not easy.

Chloe looks ashamed.

JOYCE (CONT'D)

Go home. You're fired.

Chloe unties her apron and throws it on the filthy floor.

CHLOE

Fuck you.

The diner goes silent for a moment, watching in shock as Chloe barges out of the diner.

After a quick beat, they all start talking again like nothing happened.

* * *

INT. DRAMA LAB - DAY

A miniature stage slightly elevated above ground level sits in the middle of a wide classroom.

Cheesy inspirational quote posters decorate the otherwise drab walls, notably: "Listen to your heart. When you hear it stop beating, seek medical attention."

Along the back of the class, STUDENTS line up, side by side.

JULIET WATSON (19), and HAYDEN JONES (19), stand out from the crowd, along with the lovely Rachel Amber and tweaking Nathan Prescott. Victoria nowhere to be seen.

MR. TRAVIS KEATON (40s), Blackwell's overly enthusiastic drama instructor faces the students, clipboard in hand, pacing back and forth.

MR. KEATON

Welcome beloved thespians to yet another

Blackwell drama production, produced by yours truly. As I'm sure

you're aware, the opening semester of Mr. Jefferson's

photography class has taken a firm grasp on

student's interest... and the school's funding,

leaving the drama department in a sorry state.

Some students roll their eyes. Mr. Keaton continues pacing.

MR. KEATON (CONT'D)

However, the lack of a proper budget

shall not hold this theatre back from its

destiny. For drama is the essence

of life, and without it... I won't have a job.

Beat. The pacing is almost uncomfortable now.

MR. KEATON (CONT'D)

Anyway, budding Hollywood and

Broadway superstars, today is the

day we've all been waiting for-

The reveal of the cast for Travis

Keaton's production of William

Shakespeare's _Romeo and Juliet_.

The students sarcastically cheer. A few clap insincerely.

Nobody really cares all that much.

Except for Rachel, of course.

MR. KEATON (CONT'D)

As with previous plays, the main

roles in this production shall be

reverse cast in order to fully

integrate these classical

masterpieces into modern society.

NATHAN

Get on with it, Mr. K.

STUDENT #1

Seriously, dude.

Rachel rolls her eyes.

MR. KEATON

I humbly apologize, students.

Hayden Jones cast as Mercutio.

Juliet Watson as Tybalt...

Rachel zones out. _Romeo and Juliet_ has a lot of characters.

MR. KEATON (CONT'D)

And finally, the two stars of the play.

For our tragic, beautiful Juliet... Nathan Prescott.

And, as the romantic, troubled but charismatic

Romeo... none other than Rachel Amber.

Rachel smiles and takes out her phone.

Some students get off track. Mr. Keaton too tired to intervene.

Rachel navigates to her messages and clicks on "CHLOE".

[NOTE: Text messages are in _italics_.]

RACHEL (TEXT)

 _Guess what?_

CHLOE (TEXT)

 _you're perfect_

RACHEL (TEXT)

 _Well, yes, but that's not really news._

 _You're talking to Blackwell's new_

 _Romeo Montague! Lead role of Romeo and Juliet._

CHLOE (TEXT)

 _isn't romeo a dude_

RACHEL (TEXT)

 _I'll explain later._

CHLOE (TEXT)

 _well congrats babe. talk to u later  
_

Rachel slips the phone back into her pocket as Mr. Keaton regains control of the class.

MR. KEATON

Now, everyone, feel free to socialize with your

co-stars until your heart's content. Or at

least until the end of the class period.

Rachel approaches Mr. Keaton.

The students socialize. Except Nathan, who looks out of his element.

RACHEL

Thanks, Mr. Keaton.

MR. KEATON

Unnecessary gratitude, Ms. Amber,

for the only person you should thank... is yourself, and your

overwhelming talent. You have a bright future

ahead of you, and I am proud, awed, and thankful to be alive

to witness your transformation from caterpillar to butterfly.

RACHEL

Right. I'm just glad that you

decided to-

Suddenly, Victoria bursts in. Everyone goes silent.

One side of her face still reddened from her earlier altercation with Rachel. Make-up smeared as if she's been crying, a rarity for Victoria.

She shoots a dirty, angry look to Rachel but then... she smirks.

Principal RAYMOND WELLS (40s), the balding, alcoholic, emotionless, fake-nice commander in chief of Blackwell Academy steps into the room. Face stern, posture straight.

His gaze immediately snaps to Rachel. Hands behind his back.

WELLS

Ms. Amber, I'd like to see you in

my office. Immediately.

The boom of his voice echoes through the classroom.

All eyes on Rachel - everyone just as shocked as she is.

VICTORIA

You heard him.

Rachel looks back at her. Victoria sarcastically waves goodbye.

WELLS

Immediately means now, Ms. Amber.

No stalling, please, I've got a

busy day ahead of me.

She sighs and follows him out of the classroom, leaving everyone present in awe.

 **END ACT ONE**

* * *

 **.**

* * *

 **ACT TWO**

INT. WELLS' OFFICE - ESTABLISHING - DAY

A clean, maroon-red leather computer chair sits empty behind an egregiously expensive, well-maintained mahogany desk. Two small, cheap black chairs on the opposite side.

Juxtaposed with the brand new desk is the dated, monstrous computer. Must way ten pounds, at least.

Also on the desk are two manila files: one labeled "RACHEL AMBER" and the other "CHLOE PRICE".

A half full bottle of whiskey discreetly hides on one of the lower shelves, partially blocked by a cupboard but visible if you're looking for it.

The office door swings open, and-

INT. WELLS' OFFICE - CONTINUOUS

Principal Wells steps into the office and beelines straight for his fancy throne.

Rachel lags slowly behind, eventually takes a seat in one of the black chairs.

WELLS

Do you know why I've called you in here, Ms. Amber?

RACHEL

To congratulate me on my new role?

Wells, not amused, somehow manages to turn the beefy desktop towards Rachel. On it, pixilated security camera footage of Rachel and Victoria in front of the school.

Rachel sighs. Wells clicks play.

CLOSE ON: FOOTAGE

of Rachel slapping Victoria across the face, more satisfying each time it's replayed.

BACK TO SCENE

WELLS

Ms. Amber, this type of behavior is absolutely

unacceptable, especially on school grounds.

RACHEL

I know. I'm sorry, Principal Wells.

WELLS

The apology is appreciated, though it doesn't

absolve you from your clear disregarded

for campus rules. However, Ms. Amber, this is only

the first of a multitude of reasons why we're here.

Wells opens Rachel's file.

WELLS (CONT'D)

Secondly are rumors about you that

I'd like to address concerning your alleged

'drug use'. As you know, illegal substances

used on or off-

RACHEL

-Victoria has no proof of-

WELLS

-school grounds. Along with reports from concerned

students, including Ms. Chase, I have received

damning evidence supporting these

allegations: photographs of you with

Mr. Francis Bowers, one of Arcadia Bay's most undesirable

members of society.

He shows her the pictures: Rachel and Frank in front of his RV, by the lighthouse, on the beach, etc.

RACHEL

Where did you get those?

WELLS

My sources are confidential. And, considering

you're the District Attorney's daughter, I'm sure you

understand. This evidence also goes hand in hand

with your very public relationship with Ms. Chloe Price,

who isn't necessarily known as a paragon

of lawful behavior throughout Arcadia.

Rachel sits there, stunned.

WELLS (CONT'D)

But that's not all, Ms. Amber. We also must discuss

your rapid accumulation of absences over the

past couple of years. Since the incident in which you were

hospitalized after the Tempest play a few

years ago, you have missed a total of

seventy-five school days.

RACHEL

Yeah.

WELLS

So we're in agreement, then.

Wells closes the folder.

WELLS (CONT'D)

Ms. Amber, you know I have a great respect for you

and your contributions to Blackwell both

in photography and drama, and I do concede that you are perhaps

the most talented individual that has ever

walked our halls. However, your blatant disregard for education

and Blackwell's rules has forced my hand.

Rachel sits there, emotionless. Defeated... until she remembers who she is.

RACHEL

Look, Principal Wells, I know I've made mistakes.

Truly. That hospital visit changed my life in ways I didn't

even know were possible. Have you ever come face to face

with your own death, Principal Wells?

WELLS

No, I can't say that I have.

RACHEL

It's terrifying. After that, I was never the same.

How could I be? Almost losing everything put my

life into perspective - I wasn't happy with who I was.

Wells watches, enthralled by Rachel's story.

RACHEL (CONT'D)

This story isn't an excuse for my behavior. My actions

were - are - inexcusable, but I hope it at least serves as

some sort of explanation. Principal Wells, I'm deeply sorry for my erratic

behavior these past few years. I promise that I will learn from this and

use it to become the very best person

that I could be. I hope you can forgive me.

WELLS

A truly touching story, Ms. Amber, and I'm sorry

you've had to go through this traumatic experience. Due to

these... _extenuating_ circumstances and your heartfelt

apology, I'm willing to compromise.

Wells leans in towards Rachel as she wipes tears from her eyes.

WELLS (CONT'D)

While I initially intended to

suspend you for ten days, I will

decrease the punishment to only

five.

RACHEL

Thank you, Principal Wells.

WELLS

I'm not finished. As it's quite clear to me that suspensions

often don't successfully combat future bad behavior, you're

involvement in Blackwell's production

of _Romeo and_ _Juliet_ is hereby terminated.

RACHEL

Oh.

Tears well in Rachel's eyes once again, this time sincerely.

WELLS

Your suspension is active immediately, and Mr. Keaton

shall be informed of this punishment as soon as possible so he

can make the proper arrangements. Good

day, Ms. Amber. You may leave.

Rachel gets up and leaves Wells' office, tears roll down her cheeks. She closes the door behind her.

Wells lets out a long sigh. He gets up, grabs the bottle of whiskey from its hiding spot and pours himself a glass.

He takes a long sip.

* * *

INT. PRICE HOUSE - FIRST FLOOR - ESTABLISHING - DAY

The house's first floor foyer.

Brown corkboard on the wall, photos of a younger Chloe hang on it nostalgically: her on a swing, chasing birds, etc.

A brown paper bag next to the door, some groceries packed inside.

INT. PRICE HOUSE - FIRST FLOOR - CONTINUOUS

Chloe suddenly bursts through the door, pissed off.

She SLAMS it closed when she steps inside.

CHLOE

Just another shitty day for the

collection. Glad Rachel's was all

right, though.

Her phone BUZZES.

She whips it out of her pocket and checks her messages.

Rachel.

RACHEL (TEXT)

 _Shitty day. Just lost everything._

CHLOE (TEXT)

 _same. wanna talk about it?_

RACHEL (TEXT)

 _More like NEED to talk about it. Meet me at_

 _the junkyard later. Like old times?_

CHLOE (TEXT)

 _hella YES!_

Chloe puts her phone in her pocket. She can't help but crack a giddy smile, despite the circumstances.

Chloe places her hand on the bannister and makes it half way up the stairs, until-

DAVID (O.S.)

Chloe? Is that you?

CHLOE

Fuck. Uh- no?

DAVID (O.S.)

Don't go upstairs. I need to talk

to you.

Chloe looks up to the Heavens and sighs.

David reaches the bottom of the steps.

DAVID (CONT'D)

I thought I told you to go to work.

Did you skip? Again?

CHLOE

No, I didn't skip. I'm wearing my

uniform, dumbass.

DAVID

Then why are you home?

Chloe ignores him and walks up a few more steps.

DAVID (CONT'D)

Answer me right now, soldier.

That's an order.

CHLOE

I was fired, okay? Leave me the

fuck alone.

DAVID

Smoking marijuana and getting

fired? That's what deadbeats do,

Chloe. You brought this on yourself.

CHLOE

Between you and mom, I-

David holds up a baggy of weed and shakes it as if Chloe were a dog. Anger blankets Chloe's face.

CHLOE (CONT'D)

-Where did you get that? David? Did you...?

David chuckles. Chloe storms upstairs.

David follows her, to-

* * *

INT. CHLOE'S ROOM - SAME

Chloe pushes the door open. It's a total mess, even worse than it was before. David stands in the doorway.

CHLOE

Are you serious? You searched my

room?

DAVID

Like I told you earlier: drugs will

not be abused in my home.

CHLOE

This isn't your fucking home, step-douche.

You don't belong here.

DAVID

Would you rather I call the police,

Chloe? Marijuana is illegal.

CHLOE

So is invading someone's privacy.

DAVID

If I were a police officer-

CHLOE

-I might actually respect you.

Chloe pushes David out.

CHLOE (CONT'D)

Stay the fuck out of my room.

She slams the door in his face and presses her ear up against it - listening as David's footsteps get further and further away.

She listens as the front door opens, then closes - lock CLICKS.

Chloe lights a cigarette and takes a drag, attempts to calm herself down to no avail.

The engine of David's loud muscle car booms to life. Chloe listens as the car departs. _Thank god_.

CHLOE (CONT'D)

Bullshit.

She approaches her bed, about to climb in, until-

CLINK!

Her boot lightly taps the metal keepsake box.

She picks it up with her free hand, places it on her bed and opens it. There's... nothing inside.

CHLOE (CONT'D)

I swear to god I had pictures in

here.

She searches the floor of the room. Nothing.

She takes a long toke of her cigarette.

* * *

EXT. BLACKWELL ACADEMY - AFTERNOON

Rachel sits alone on the steps nearest the street, face buried in her hands.

Seemingly out of nowhere, Nathan approaches. He takes a seat right next to her. Uncomfortably close.

NATHAN

Vic told me what happened.

Rachel quickly regains her composure and looks to Nathan. Her make-up totally smeared, eyes puffy and red.

RACHEL

What are you doing here, Nathan?

NATHAN

Just comforting my friend.

RACHEL

Shouldn't you be with Victoria,

then?

NATHAN

What, we're not friends?

Rachel doesn't answer.

NATHAN (CONT'D)

I just wanted to let you know

that if you ever want to party-

RACHEL

-Jesus Christ.

NATHAN

You know I've got the good shit,

Rachel.

RACHEL

Not interested.

NATHAN

You can try some tomorrow, if you

want. We're shooting, you know.

He'll send the details in the morning.

Nathan puts his arm around her, just as-

James' car pulls over in front of the school. Perfect timing.

Rachel quickly breaks free from Nathan's unwanted grasp and gets in the passenger. Slams the door behind her.

Nathan watches from the steps as Rachel and James drive off.

NATHAN (CONT'D)

Bitch.

* * *

EXT. AMBER HOUSE - ESTABLISHING - EVENING

A gorgeous red wood mansion stands tall, surrounded by even taller pine trees. It's astoundingly fancy, especially in comparison to Chloe's middle class townhouse.

Brick and cobblestone pillars near an unnecessarily beautiful stained glass doorway.

To the left of the house sits a two door garage connected to the main house. Cobblestone driveway totally empty, until-

The Amber car slowly pulls in, engine hum softens until it's inaudible as the car stops.

INT. AMBER CAR - SAME

James turns the key and removes it from the ignition.

An awkward silence lingers through the car.

JAMES

I'm sorry, Rachel.

RACHEL

What?

JAMES

This is all my fault. The lies I've told. About Sera.

Damon. Everything. I betrayed your trust, your

love. If I never would've...

RACHEL

I know, dad.

JAMES

I pushed you here. I ruined

everything and I get that now. I

never meant to hurt you.

RACHEL

Yet you still did.

JAMES

I wish I could go back in time and make

different decisions. I was wrong. It's okay

you got suspended, Rachel. It's going to be okay.

RACHEL

It's not school. I don't give a

shit about that. It's the play.

JAMES

The play?

RACHEL

 _Romeo and Juliet_. I never told you. I was supposed to be

Romeo. If I knew I would've been suspended for

this, I would've knocked Victoria's fucking teeth out.

James sighs.

JAMES

I've been a horrible father, and I know that. I know

I can never earn back your

trust, Rachel, but I'd like the chance to fix this.

RACHEL

Fix this?

JAMES

Fix us. Maybe we'll never get back to

where we were, but we can try to get close. Let's

pick up the pieces, Rachel, and try to put this back together.

RACHEL

There aren't enough pieces to put

together, dad. Not anymore.

Rachel gets out of the car, hangs her backpack off one shoulder and slams the door behind her.

He pulls a picture out of the glovebox of him and Rachel, still a toddler, when they still lived in California.

* * *

INT. RACHEL'S ROOM - ESTABLISHING - EVENING

The relatively large room is clean, organized and beautiful - brimming with personality from every corner.

A Zodiac poster on the wall, focusing on Leos.

Type-4 Enneagram poster next to the polished, white desk.

An industrial grade flashlight with a purple galaxy dome covering the light next to a sleek laptop.

On the wall behind a bed hangs a large map of the United States. Graffiti in Chloe's handwriting reads:

" _The corners of the world our mere prologue."_

* * *

INT. RACHEL'S ROOM - CONTINUOUS

Rachel slowly steps into her safe haven. Relief washes over her face as she softly closes the door behind her.

RACHEL

Finally.

She darts straight for the lamp and turns it off. Then, to the window over the desk. Drops the curtains, sunlight blocked.

She grabs the flashlight off the desk. Holds it in her hands and stares at it, nostalgically, for a moment.

RACHEL (CONT'D)

Chloe Price.

She presses the flashlight's "On" switch.

The light reflects perfectly off the galaxy textured dome - stars blanket the entirety of the room. Rachel's own personal galaxy.

She places the flashlight on the floor in the middle of the room, takes her sneakers off and lies on her bed.

Rachel stares longingly at the stars. Then, to the map.

RACHEL (CONT'D)

"We shall fly beyond this isle."

Back to the ceiling. A peaceful moment-

-Interrupted by her phone's vibration.

CHLOE (TEXT)

 _still on for the junkyard soon?_

RACHEL (TEXT)

 _Wouldn't miss it for the world._

CHLOE (TEXT)

 _cool just got some shit to take_

 _care of real quick._

RACHEL (TEXT)

 _Oh. What kind? Need help?_

CHLOE (TEXT)

 _nah just some sgt. dickhead shit._

 _meet u there in a couple hours._

Rachel locks her phone and tosses it to the side.

RACHEL

Chloe Price, you are one of a kind.

A smile creeps on her face as she continues to stare at the ceiling. Stars dance and twinkle before her eyes.

 **END ACT TWO**

* * *

 **.**

* * *

 **ACT THREE**

INT. CHLOE'S ROOM - EVENING

Chloe slips her phone into the pocket of her black, skintight leather jeans, straps hanging in a an 'x' formation. Totally punk rock.

A cigarette rests between her pointer and middle fingers.

She takes a drag, we see her black tanktop with a modern, blocky "PUNK DOE" graphic.

CHLOE

Now or never, Chloe.

She drops the cigarette on the cluttered floor and stomps it out, quickly. Grabs her dad's brown leather jacket and puts it on as she leaves the room.

* * *

INT. DAVID'S GARAGE - ESTABLISHING - EVENING

A grimy, cold, uncomfortable garage - it almost looks more like a nuclear fallout shelter.

Trimmed, wooden gun cabinet sits snugly in the corner of the room - large, military-grade silver padlock engaged.

Antique, clunky washer and dryer unit. Box of miscellaneous junk sits on top, case of tiny tools barely hanging over the edge.

Disgusting dark black oil puddle on the concrete floor in front of the lengthy workbench.

Tons of random papers on the table, handwriting too messy to read. Framed photos of David and Joyce. An old laptop.

Cabinets on the wall above the workbench. Sketchy, out-of-place manila folders on top.

Hundreds of non-perishables: beans, soups, chips, etc. A commendable stash if this were "The Walking Dead".

* * *

INT. DAVID'S GARAGE - CONTINUOUS

Chloe steps into the man cave, takes a look around.

She looks at the oil slick.

CHLOE

Gross, gunked up... ew.

She starts scanning the room for... something. Anything of interest. The washer, the gun rack, the food... nothing suspicious.

This no-evidence method isn't working for her.

CHLOE (CONT'D)

Fuck this. Let's see how you like having your room torn apart, step-prick.

She does just that - wreaks havoc on David's personal hideout.

Box pushed off the drier, contents crash to the floor. Tiny tools slide under the cabinet.

She brushes the papers off the workbench, most of it drenched in oil. Totally ruined.

She grabs one of the picture frames. Locks eyes with David, then Joyce.

CHLOE (CONT'D)

You'll never replace dad.

She slams the picture frame on the ground.

Glass shatters everywhere, a minefield of sparkling shards.

Chloe knocks over the pyramid of cans, each one rolls softly all over the room. She picks one up, and-

SMASH!

The can busts through the glass gun cabinet. Debris everywhere. Guns completely exposed.

Chloe reaches to take one but hesitates.

CHLOE (CONT'D)

Maybe if I didn't already trash the place.

She swings the leftmost cabinet open.

A... television? She's caught off guard.

Chloe flips the on switch.

CLOSE ON: TV SCREEN

that displays surveillance camera footage of her house.

Pictures cycle through the kitchen, hallway, front yard, garage, backyard, bathroom.

BACK TO SCENE

Chloe steps back.

CHLOE (CONT'D)

What the fuck? He's watching us?

As if he couldn't be any creepier.

She shakes her head. In the corner of her eye, she catches a glimpse of the near-hidden stack of manila folders.

CHLOE (CONT'D)

If that's not shady as shit, I

don't know what is.

Luckily for her, she's tall enough to easily grab them.

She spreads them out on the workbench and opens them, one by one.

Pictures of Chloe, Rachel, Frank, Nathan, cars, trucks, buildings... you name it, it's photographed.

CHLOE (CONT'D)

Holy shit. What the hell is all this?

Three sprawling, illegible pages of coordinates. Hundreds upon hundreds of numbers, line after line after line.

CHLOE (CONT'D)

John McClane thinks he's still

fighting the Germans.

Chloe's eyes widen as she reaches the final folder.

The pictures of her and Rachel from the box in her room inside.

CHLOE (CONT'D)

I fucking knew he stole these.

She pockets the pictures he stole, heads towards the door to leave the room, but stops. Looks back to the evidence.

She grabs the folders and everything in them.

CHLOE (CONT'D)

Might come in handy.

Chloe exits the garage, closes the door behind her.

We linger on the destroyed garage, for a moment.

She really did a number on it.

* * *

INT. RACHEL'S ROOM - EVENING

A duffel bag lies open in the middle of the room.

Rachel reaches into her wardrobe, takes a couple pairs of jeans. Tosses them into the bag.

Then, to the drawers - a couple shirts, two pairs of underwear and two bras. From her hands to the bag.

Her phone BUZZES on the desk. She grabs it.

CHLOE (TEXT)

 _hey parked out front_

Rachel smirks and pockets the phone.

Throws the bag over her shoulder and leaves the room.

* * *

INT. AMBER HOUSE - UPSTAIRS

Walks down the hallway quickly, with purpose, to-

* * *

INT. AMBER HOUSE - STAIRS

Speeds down the stairs, lucky she didn't fall.

* * *

INT. AMBER HOUSE - FIRST FLOOR

Stealthily emerges from the staircase, peeks around the corner.

James reads the paper while ROSE AMBER (40s), Rachel's step-mother, cooks something on the stove.

Hand on the doorknob, she slowly twists it and creaks open the door-

BEEP, BEEP, BEEP! The house's alarm system.

RACHEL

(under breath)

Oh, fuck me.

Both parents stir, eyes on Rachel, and meet her at the door.

JAMES

Rachel?

ROSE

Where are you headed this late, honey?

RACHEL

Out.

JAMES

Out where?

He checks his watch.

JAMES (CONT'D)

It's almost ten.

RACHEL

Tomorrow's Saturday. And it's not like I have school to worry about.

JAMES

Well, that doesn't mean-

RACHEL

-Just let me go, Dad.

ROSE

You haven't told us where you're going.

RACHEL

I don't see why you care. You're

not my mom.

JAMES

Rachel.

ROSE

No. She's right.

JAMES

Apologize, Rachel. That was

disrespectful.

RACHEL

Sorry, Rose. Eat a dick, dad.

ROSE

Rachel, honey-

RACHEL

-Just leave me alone. Both of you, please. I'm done fighting.

JAMES

Then it can't hurt to tell us where you're going.

RACHEL

Fine, you wanna know so bad? Out

with Chloe. Don't know where.

Doesn't matter.

JAMES

Is that really such a good idea,

Rachel?

RACHEL

What's that supposed to mean?

JAMES

Well, with Chloe's delinquent reputation around Arcadia

and your current situation at Blackwell, don't

you think it'd be best to stay away? Just

until this all blows over, of course.

RACHEL

As if I'd take advice from a lying,

cheating piece of shit like you.

JAMES

Rachel, I'm just trying to-

RACHEL

-And don't you ever talk about

Chloe like that again.

JAMES

I'm just calling it like I see it.

Rachel looks to the floor. Then, back to James.

RACHEL

Go fuck yourself.

Rachel steps outside, and-

* * *

EXT. AMBER HOUSE - SAME

-Slams the door behind her.

She jogs through her front yard to Chloe's pick-up.

From outside, we see Chloe get startled and reach over to the passenger door. She unlocks and opens it for Rachel.

Rachel tosses the duffle bag in the pick-up's bed and climbs in shotgun. Closes the door behind her.

* * *

INT. CHLOE'S TRUCK

From inside the car, we can barely see James and Rose step in front of the window, spying on their daughter.

Rachel looks Chloe in the eyes.

CHLOE

Rachel.

RACHEL

Chloe.

She leans over and kisses Chloe. Not a long one, but a passionate one.

James and Rose continue to watch as the kiss ends.

CHLOE

Let's get out of here.

Chloe puts the car in drive and speeds off.

* * *

EXT. JUNKYARD - ESTABLISHING - NIGHT

Chloe's dingy pick-up parked at the center of a vast junkyard. Hundreds upon hundred of destroyed cars in messy piles.

A small, rusted, abandoned boat sits alone within the automobile graveyard.

By the entrance, a sign fallen on its side. An evil, angry red skull smeared over the little girl's face.

A trashed four door car. Hood scrunched up, barely open. One side smashed in. 'REST IN PIECES' written on the driver's seat in black ink.

A dirty, dilapidated shack nestled within mountains of cars.

Indie music hums softly. Lights dimly shine through boarded up windows.

* * *

INT. JUNKYARD SHACK - NIGHT

A lantern emits a bit of light from the center of the room.

A dart board on the wall, picture of David dead center. Below it, tallies next to 'RACHEL' and 'CHLOE' written in black ink. Rachel's got a lot more tallies.

On the adjacent wall, a bit of graffiti: One sentence atop the other. Graffiti reads:

" _Chloe was here."_

" _Rachel was here."_

A trippy and distressed but oddly beautiful bright yellow elephant tapestry covers almost an entire wall.

Beneath it, a questionably dirty couch, Rachel and Chloe sitting next to one another.

CHLOE

That bad, huh?

RACHEL

Yeah. Wells, Dad, Victoria, Nathan.

It's all fucked.

CHLOE

I'm glad I'm not another name on

the list.

RACHEL

You couldn't be, even if you tried.

I'm glad you're here, Chloe.

CHLOE

Of course.

RACHEL

We haven't been here in a while.

CHLOE

Sixty-five days. But who's

counting?

RACHEL

I'm sorry, Chloe. I never meant to hurt you.

CHLOE

You weren't the first.

RACHEL

That doesn't make it okay.

Chloe sulks.

RACHEL (CONT'D)

What about you?

CHLOE

About me?

RACHEL

We were talking about how our days went?

CHLOE

Oh, right. I got fired, the evil mustache busted

me smoking pot, searched my room and

stole from me, and now I'm here.

RACHEL

So a normal day in the Price

household?

CHLOE

As normal as it gets.

Rachel moves closer to Chloe, leans her head on the punk's shoulder.

RACHEL

Our lives have been a mess, haven't they?

CHLOE

Understatement of the year.

RACHEL

You ever wonder why we were dealt

such shit cards?

CHLOE

Every day for the last... since my dad died.

RACHEL

How long's it been?

CHLOE

Too damn long. I miss him. So much.

RACHEL

I know.

CHLOE

Sometimes I wonder if he's keeping

me here, but then I remember...

RACHEL

He's dead.

CHLOE

Yeah. He's dead.

Beat.

Rachel lifts her head up from Chloe's shoulder. Looks her in the eyes.

RACHEL

Let's get out of Arcadia. Forever.

CHLOE

Remember the last ten times we tried?

RACHEL

This time's different. We're ready.

CHLOE

I don't know, Rachel.

RACHEL

We have money, a sick ride, years

of trauma, our youth.

CHLOE

Each other.

RACHEL

Exactly. We can do this.

CHLOE

Are you sure you're ready, Rachel.

But what about-

RACHEL

-I'm done with that. I want this, Chloe. I know

you want it too, ever since we first

met. What do we have to lose?

CHLOE

How much do you have saved up?

RACHEL

A few thousand. Maybe five? Five

and a half?

CHLOE

I have two, I think. Maybe a bit

less.

RACHEL

Well that's a start, right?

CHLOE

Depends on where we go.

RACHEL

The corners of the world our mere

prologue, Chloe.

Chloe smiles.

RACHEL (CONT'D)

After the Tempest, a few years ago, you told me

you wanted New York City.

Broadway. The flashing lights, the pizza.

CHLOE

As far from Arcadia as possible...

RACHEL

Right. So let's leave.

CHLOE

We'll need more money. Rent in New

York is...

RACHEL

Why don't you borrow some from

Frank?

CHLOE

Seriously? Like that'd work.

RACHEL

It will.

CHLOE

Yeah, if you do it.

Rachel frowns.

RACHEL

I don't want to see him.

CHLOE

I understand, but... I don't know.

RACHEL

Please, Chloe. For me. For us.

CHLOE

Okay. All right. I'll try.

Rachel kisses Chloe on the cheek.

RACHEL

Then we leave tomorrow night.

CHLOE

Tomorrow night.

Chloe lies back, head rests on the couch's arm.

Rachel lies with her, head on Chloe's chest.

They fall asleep in each other's arms.

 **END ACT THREE**

* * *

 **.**

* * *

 **ACT FOUR**

INT. JUNKYARD SHACK - MORNING

Bright sunlight peaks through the boarded up windows.

Chloe yawns, stretches out her arms. Rachel's still wrapped around her.

Chloe tries to carefully get out of bed, but can't. Rachel wakes up.

RACHEL

Can't you let a girl get some

sleep?

CHLOE

Shut up.

They both get off the couch. Rachel grabs the duffel bag and opens it up, takes an outfit out for herself.

RACHEL

I packed you one.

CHLOE

Thanks.

Chloe strips from yesterday's clothes and gets re-dressed.

Chloe doesn't look quite as punk.

Rachel doesn't, but watches.

CHLOE (CONT'D)

Not quite my style.

RACHEL

It's the thought that counts. Plus, you look hot in my clothes.

CHLOE

Is that, like, a dominance thing?

RACHEL

Now it's your turn to shut up.

CHLOE

So, what's the plan?

RACHEL

Don't act like you forgot about

Frank, Chloe.

CHLOE

I'll set a meeting with Frank and

try to borrow some cash.

RACHEL

And I'll head home. Pack up as much shit as I can.

Chloe takes her phone out, navigates to Frank's contact.

CHLOE (TEXT)

 _yo frank_

FRANK (TEXT)

 _What do you want?_

CHLOE (TEXT)

 _business, frank. what else?_

FRANK (TEXT)

 _I'm not holding right now. All out._

CHLOE (TEXT)

 _okay that's bullshit but i'm_

 _talking about different business._

 _can we meet?_

FRANK (TEXT)

 _I don't know, can we?_

CHLOE (TEXT)

 _frank_

FRANK (TEXT)

 _Fine. Meet me at the beach._

Chloe puts her phone away and looks up. Rachel's already dressed.

CHLOE

Glad you let me enjoy the show.

RACHEL

Not my fault you were too busy on

the phone, Chloe. So?

CHLOE

What?

RACHEL

Frank?

CHLOE

Oh, yeah. He agreed.

RACHEL

To give us money? Over text?

CHLOE

No, just to meet. Didn't fill him

in on why. Yet.

RACHEL

I hope you know what you're doing.

I trust you.

CHLOE

Yeah. Let's get out of here.

Rachel puts their dirty clothes in the duffel bag and tosses it over her shoulder. They leave the shack.

* * *

EXT. JUNKYARD - MORNING

Chloe hops in the driver's seat, opens the passenger door for Rachel.

Rachel throws the bag into the truck, about to get in, until-

-Her phone BUZZES. She checks it.

MR. JEFFERSON (TEXT)

 _Where the fuck are you?_

RACHEL (TEXT)

 _What?_

MR. JEFFERSON (TEXT)

 _Nathan told you we're shooting_

 _today. Remember?_

RACHEL (TEXT)

 _I'm done doing your creepy_

 _photoshoots, Jefferson. Find a new muse._

MR. JEFFERSON (TEXT)

 _Sorry, Rachel, but that's the wrong_

 _answer. Meet me at Blackwell. Now._

Rachel puts her phone away.

RACHEL

(under breath)

Fuck.

CHLOE

What was that?

RACHEL

Nothing just... Blackwell shit.

CHLOE

Didn't you get suspended?

RACHEL

Wells set a meeting with me and my parents.

CHLOE

Fuck.

RACHEL

Yeah.

Beat.

CHLOE

Hop in, I'll drop you off.

RACHEL

No, it's fine. Can't keep Frank

waiting. You know how he is.

CHLOE

It's not a big deal.

RACHEL

Thanks but I'll get there on my

own, Chloe. I need to think about

what I'm going to say. Acting

things, you know?

CHLOE

Yeah, sure. I get it. Be careful, okay?

RACHEL

Always.

Rachel closes the door, watches as Chloe drives away.

RACHEL (CONT'D)

(under breath)

Fuck my life.

* * *

EXT. BEACH - ESTABLISHING - DAY

Vivid blue waves crash against pristine, pale yellow sand. A parking lot borders the beach a bit further from the ocean.

The lot is completely empty, minus a dingy, shady RV, table and chair out front. Tons of glass beer bottles litter the mobile home's "front lawn".

Far in the background, a giant lighthouse on its own peninsula barely out of focus. Ominously towers over the rest of Arcadia.

Chloe's pick-up parks next to the RV.

* * *

EXT. BEACH - SAME

Chloe hops out of her truck, lights a cigarette, and heads straight to Frank's.

She knocks on the door. Nothing.

CHLOE

Frank? It's Chloe.

She knocks a second time. Again, no answer.

CHLOE (CONT'D)

Jesus, do you have to do this every time?

She knocks yet again.

CHLOE (CONT'D)

(under breath)

For fucks sake.

She takes a step back.

FRANK (O.S.)

I heard that.

The door swings open.

FRANK BOWERS (32) steps outside. Disheveled, but kind of cool in a "doesn't shower but also doesn't care" kind of way.

His dog, Pompidou, jumps out with him. Runs to Chloe, tail wagging.

Chloe pets him.

CHLOE

Aw, who's a good boy? Pompidou is, yes he is.

FRANK

What the fuck do you want, Price?

CHLOE

Just checking in with my favorite dealer.

Pompidou runs back into the RV.

FRANK

Yeah. Sure.

CHLOE

So... how's it going?

FRANK

Great.

CHLOE

Cool. Good.

Beat.

CHLOE (CONT'D)

You gonna ask me how I am?

FRANK

No.

CHLOE

I thought we were friends, man.

FRANK

Price.

CHLOE

What?

FRANK

Why are you here?

CHLOE

Oh yeah. I need to borrow some cash.

Frank starts to get back in the RV, until-

CHLOE (CONT'D)

Please. You know I'm good for it.

FRANK

Actually, I don't think I do.

CHLOE

Can I borrow some or not?

He faces Chloe again.

FRANK

Do I look like a fucking bank?

CHLOE

No, you look like a fucking drug dealer.

FRANK

How much are we talking?

CHLOE

Three grand.

FRANK

Oh, just three grand? That's it?

CHLOE

Seriously. I need it.

FRANK

What for?

CHLOE

None of your business.

FRANK

It's my money, it's my business.

CHLOE

I got fired and I think my mom's

kicking me out. Need some cash to

get back on my feet.

FRANK

(chuckling)

You had a job?

CHLOE

Yup. Hourly pay and everything.

FRANK

You really need this?

CHLOE

Yeah. I'll pay you back.

Frank steps back into his RV. Chloe tries to follow him, but the door slams shut before she can get inside.

...

Frank finally steps back out. Chloe's annoyed.

CHLOE (CONT'D)

Took long enough.

Frank hands her $3,000 in cash.

CHLOE (CONT'D)

Thanks, Frank. This means a lot.

FRANK

It'll mean a whole lot more if you don't pay me back.

CHLOE

I will. Promise.

FRANK

Sixty days. With interest.

Chloe smiles.

Frank grabs her wrist, tightly.

FRANK (CONT'D)

Don't test me, Price.

He lets go, gets back in the RV. Slams the door.

Chloe practically skips with glee back to her pick-up.

* * *

EXT. BLACKWELL ACADEMY - DAY

Rachel walks up the outer steps, towards campus.

MR. MARK JEFFERSON (30s), Blackwell's good-looking, talented, successful, premier photography teacher admires his own work. Narcissist.

Rachel approaches.

RACHEL

Mark.

He turns around.

MR. JEFFERSON

Well, if it isn't the lovely Rachel

Amber. Took you long enough.

RACHEL

Whatever.

MR. JEFFERSON

I see Chloe Price's attitude is

rubbing off on you. What a shame.

You were so... unique.

RACHEL

Cut the shit. What do you want?

MR. JEFFERSON

Would it be too cliche to say that

I want you?

RACHEL

No. Just kinda gross.

MR. JEFFERSON

Don't act like you don't feel the same.

RACHEL

I did, at first.

MR. JEFFERSON

Doesn't everyone?

RACHEL

Sure. Until they learn about your

sick dark room.

MR. JEFFERSON

Speaking of, today's your shoot.

RACHEL

I'm not going.

MR. JEFFERSON

I'm sorry about last time, Rachel. The dosage

was a bit too high. I'll dial it back this time.

RACHEL

Bullshit. I almost fucking died, Mark.

MR. JEFFERSON

Nathan gets carried away with his

photography sometimes. I know the junkyard-

RACHEL

-It's not about the junkyard. It's about waking up

in a god damn ditch with Nathan holding a shovel.

MR. JEFFERSON

Like I said, he gets carried away sometimes.

RACHEL

Bullshit, again. He wasn't even there that

day. He just covered up your mess. You dosed me, and-

MR. JEFFERSON

-And what? You saw the pictures. They were artistic

perfection. My best work in years. Don't

act like you aren't proud.

RACHEL

Pathetic that your "best work" requires drugging

teenage girls and taking advantage of them.

MR. JEFFERSON

Watch your mouth, whore.

RACHEL

No, watch yours, Mark. David Madsen might

be a tool, but he's a tool with a surveillance fetish.

Mr. Jefferson quickly looks around campus. Spots a few cameras in as many seconds.

RACHEL (CONT'D)

I'm done working with you. Find a

new muse. Or die. Either way.

She walks away from Mr. Jefferson. Back towards the stairs.

Jefferson heads to the parking lot.

Rachel takes a few steps down, but... stops and looks back to Blackwell Academy.

RACHEL (CONT'D)

(under breath)

Might be the last time I'm here.

She hurries across campus and enters Blackwell's main building.

* * *

INT. BLACKWELL ACADEMY - SAME

Rachel takes a short walk down the entrance hall, hangs a right into the front office.

* * *

INT. FRONT OFFICE

She steps up to the office counter.

A RECEPTIONIST (mid 20s) files papers behind it.

RACHEL

Excuse me?

The receptionist stirs, steps up to the counter.

RECEPTIONIST

Oh, Ms. Amber. How may I help you?

RACHEL

I'd like to speak with Principal

Wells, please.

RECEPTIONIST

Sorry, he's not accepting visitors right now.

RACHEL

Why not?

RECEPTIONIST

Ms. Amber, if this is about your

suspension-

RACHEL

Jesus, of course he told you.

RECEPTIONIST

I'm sorry, Rachel, but I can't let you back

there. Try again on Monday. Preferably

during school hours.

The receptionist smiles.

Rachel sighs.

RACHEL

Too bad. I'm going in there

whether you want me to or not.

RECEPTIONIST

Ms. Amber-

Rachel steps up to Wells' office door.

KNOCK, KNOCK, KNOCK!

* * *

INT. WELLS' OFFICE

Wells is caught off guard by the loud knocks, expensive bottle of scotch sitting on his desk in plain sight.

RACHEL (O.S.)

Principal Wells?

RECEPTIONIST (O.S.)

Ms. Amber, you need to leave.

WELLS

(under breath)

God damn it.

Wells grabs the bottle and quickly hides it.

He's about to hide the glass, but hesitates. Downs the last bit, and stashes it in a drawer.

Wells adjusts his tie and opens the door.

WELLS (CONT'D)

Ms. Amber, now really isn't a-

She storms in, stands in front of the seat opposite Wells' fancy chair.

WELLS (CONT'D)

-Good time. Fine.

He's about to sit down, but-

RACHEL

No need to sit, Principal Wells.

This'll only take a second.

WELLS

What is this about, Ms. Amber? The terms of your suspension are final.

RACHEL

Fuck you, fuck Blackwell, and fuck my suspension.

WELLS

Ms. Amber, I-

RACHEL

-No. I'm done with this bullshit

school, Wells. I'm done.

WELLS

This childish outburst really isn't helping

your case, Ms. Amber, and I recommend you

stop before I'm forced to take further action.

RACHEL

What are you gonna do? Suspend me

for another five days?

WELLS

At the very least. However, if you apologize-

RACHEL

-That's rich, Wells. You should be the one apologizing.

WELLS

Excuse me, but what exactly is that supposed to mean?

RACHEL

The play. One of the few things in this world that

makes me truly happy and you took it from

me, over what? Rumors you heard from Victoria?

WELLS

Now, Ms. Amber, I know things may

seem-

RACHEL

-Unfair? But let me guess, "Ms. Chase's situation requires sensitivity", right?

Save your political bullshit. Between you and my dad, I've had more than enough.

WELLS

I'm sorry you feel that way. But, like I said, your

consequences are final. I think you should leave.

RACHEL

What about your consequences, Wells?

WELLS

My consequences?

RACHEL

Your obvious alcoholism. Drinking

on the job. Must I go on?

WELLS

Those accusations are completely unfounded and utterly

disrespectful not only to me, but to this institution as well.

RACHEL

Ah, of course. It's okay when I'm accused of

something without proof, but not when you are?

Wells stands there, silent. She's right.

RACHEL (CONT'D)

But I do have proof, Wells. I could smell the

scotch on your breath from here.

Rachel walks towards the door. Stops and turns around, for a moment.

RACHEL (CONT'D)

Suspend me indefinitely. I'm not

coming back.

She leaves the office, door softly closes behind her.

Wells slowly takes a seat at his desk, still in shock.

He pops a mint in his mouth and opens Rachel's file.

 **END ACT FOUR**

* * *

 **.**

* * *

 **ACT FIVE**

INT. CHLOE'S ROOM - EVENING

Chloe lies in bed, lit cigarette between fingers, ash tray resting on her stomach. Four cigarette butts in it.

She takes a drag of the cigarette and glances at the alarm clock. Clock reads: "7:30 PM".

CHLOE

Not even surprised.

She takes her phone out. Nothing from Rachel.

CHLOE (TEXT)

 _dude are we leaving some time this year?_

RACHEL (TEXT)

 _Yeah. Sorry, things took a bit_

 _longer than I thought. About to_

 _start packing now._

CHLOE (TEXT)

 _cool see u in an hour_

She puts her phone in her pocket, gets out of bed and grabs a suitcase and backpack from her closet.

She opens both, tosses them on her bed.

CHLOE (CONT'D)

What to bring, what to bring?

She opens her drawers, grabs as much clothes as she can carry. Messily dumps it all in the suitcase.

Opens a drawer, takes out an envelope and a journal. In the envelope, tons of concert tickets. In the journal, letters to Max she never sent.

She slips them in her backpack. Struggles to zip the suitcase, but manages after a bit of hard work.

CHLOE (CONT'D)

I think that's everything I need.

She pats down her pockets.

CHLOE (CONT'D)

Phone, wallet, keys, cigarettes...

All here.

She puts her dad's leather jacket on, and opens the window.

Drops the suitcase to the ground floor.

Tosses the backpack of her shoulder. About to head out the window, but hesitates.

Looks to the TV. Spots the Polaroid camera, hesitantly pulls her phone out. Navigates to a contact labeled "MAX".

CHLOE (TEXT)

 _just wanted to let u know that i'm leaving arcadia with_

 _rachel tonight. i won't be here when u come back._

 _not like u will, or even respond. i don't know why i sent this_

Chloe waits, for a moment. No response, like she expected. She puts the phone away, grabs the camera and sneaks out the window, closes it behind her.

* * *

INT./EXT. CHLOE'S PICK-UP/AMBER HOUSE - EVENING

Darkness overtakes Arcadia Bay. Sun sets below the trees.

Chloe sits alone in her pick-up, down the block from the Amber house. She watches the side window, intently.

Suddenly, three duffel bags fly out the window, one by one.

Then, Rachel struggles to rappel down the side, but she does.

CHLOE

(to herself)

Damn, Rachel. I'm impressed.

She grabs all of the duffel bags, heads to Chloe's pick-up.

Chloe rolls down the window as Rachel nears.

CHLOE (CONT'D)

Mom told me not to give rides to

strangers.

RACHEL

Lucky for me, you don't listen to

your mom.

CHLOE

You got that right. Need help with the bags?

RACHEL

I got 'em. Thanks, though.

CHLOE

Sure.

Rachel tosses the bags one by one into the truck's bed.

Opens the passenger door and hops in, shuts it behind her.

RACHEL

Can you believe it?

CHLOE

We're finally getting out of this

hick town.

RACHEL

Yeah. It almost feels like a

dream, doesn't it? Like it's not really happening?

Chloe pinches her.

RACHEL (CONT'D)

Um, ow.

CHLOE

Guess this is real.

Rachel pinches her back.

CHLOE (CONT'D)

(chuckling)

What the hell, dude?

RACHEL

Just making sure.

CHLOE

So, you ready to hit the open road?

RACHEL

Can we make one stop first?

CHLOE

Depends on-

She glances at Rachel's hands. An envelope, "FRANK" written on the front.

CHLOE (CONT'D)

-Oh. I thought you were done with him.

RACHEL

It's the right thing to do. He

needs to hear it from me.

CHLOE

Yeah, no. I get it. It's cool.

RACHEL

Would you tell me if it wasn't?

Chloe says nothing, drives off into the night.

* * *

EXT. BEACH - NIGHT

Rachel hops out of Chloe's pick up, envelope in hand.

Slowly walks towards Frank's RV.

CHLOE (O.S.)

Hurry up, Rachel.

RACHEL

Yeah.

She steps up to the door. Stands awkwardly for a moment.

RACHEL (CONT'D)

(under breath)

Sorry, Frank.

She slips the envelope under the door.

* * *

EXT. ARCADIA BAY CITY LIMITS - ESTABLISHING - NIGHT

Full moon in the dark black, rural sky. A ton of stars glimmer overhead.

Dense pine forests line the empty roads.

Cheesy sign on the shoulder reads:

 _"Another Great DAY in ARCADIA BAY. Thank you, come again!"_

Chloe's pick-up pulls over next to it.

* * *

INT. CHLOE'S PICK-UP - SAME

The engine hums to a stop. Chloe shifts the car to park.

Indie music blasts through the low-quality speakers until Chloe reaches to the console and turns it down.

She looks to Rachel, worried.

Silence, for a moment.

Ominous all-seeing-eye with wings drawn on the wall behind them.

CHLOE

You okay?

RACHEL

Yeah.

CHLOE

You haven't said a

word since we left Frank's.

RACHEL

I've just been thinking.

CHLOE

About what?

RACHEL

Our new life together.

CHLOE

You're not just saying that, right? You're sure

you want this? Once we're past this sign-

RACHEL

-I'm hella ready, Chloe Price.

Rachel leans over the dash. Places her hand softly on Chloe's cheek, pulls her in for a short kiss.

After, they return to their regular spots.

CHLOE

No going back.

She smirks, puts the car in drive, steps on the gas.

* * *

EXT. ARCADIA BAY CITY LIMITS - SAME

The pick-up truck barrels down the highway, further and further past the city limits sign until it's out of view.

* * *

INT. DAVID'S GARAGE - NIGHT

Joyce kneels on the concrete ground, sweeps shattered glass into a dustpan.

David holds the shattered 'family' photo. He frowns.

* * *

INT. DARK ROOM - NIGHT

Mr. Jefferson stands at the desk, flips through a red binder labeled "RACHEL". Pictures of Rachel drugged out, tied up. Unsettling.

Nathan paces the room, phone to his ear. No answer.

He angrily throws the phone against the wall. It shatters.

Jefferson and Nathan exchange glances.

* * *

INT. RACHEL'S ROOM - NIGHT

James and Rose stand in Rachel's room. Wardrobe open, clothes missing. Flashlight with the galaxy dome missing, too.

Rose rests her head on James' shoulder.

* * *

INT. FRANK'S RV - NIGHT

Frank sits in his bed, Pompidou at his side. Rachel's letter in hand. Tears roll down his check as he reads.

He nervously strokes Pompidou's back.

* * *

INT. WELLS' OFFICE - NIGHT

Feet resting on the desk, Wells pours a glass of scotch.

Rachel's file still open on his desk. A blocky, red stamp at the bottom reads: "SUSPENDED INDEFINITELY".

Downs the glass of alcohol in one, long gulp.

* * *

INT. VICTORIA'S DORM - NIGHT

Victoria lies in bed, smile covering her face, _Romeo and_ _Juliet_ script in hand.

Romeo's dialogue highlighted in vibrant yellow.

* * *

INT. CHLOE'S PICK-UP - NIGHT

Rachel's head rests against the glass. Asleep.

Chloe still drives, highway only illuminated by her truck's headlights.

Music turned way down. Barely audible, but present.

Chloe's phone lies on the armrest console.

Suddenly, it BUZZES. Chloe doesn't notice.

CLOSE ON: CHLOE'S PHONE

On the screen, a text message appears:

MAX (TEXT)

 _I actually just got a full ride to Blackwell and I'm moving_

 _back in August. I'm sorry I didn't tell you, or keep in contact._

 _At all. I wanted to, but... Just don't go, Chloe._

 _Please, I miss you._

BACK TO SCENE

The phone screen fades black.

Again, Chloe doesn't notice.

She yawns, looks to the sleeping Rachel, then back to the dark road.

She keeps driving. No going back.

 **THE END**


	2. Episode Two: Wanderlust

BEYOND THIS ISLE

Season 1, Episode 2

"WANDERLUST"

Written by

Robert Lentz

Based on characters from the "Life is Strange" series of video

games created and developed by DONTNOD Entertainment and Deck

Nine, copyright Square Enix.

rob_lentz on twitter, instagram, AO3

roblentz on FFnet

writtenbyroblentz on tumblr (updates on following episodes will be here)

robcotrproductions on reddit

special thanks to reddit user u/magmacomblatte for her help. couldn't have done it without you!

* * *

.

* * *

 **TEASER**

EXT. OREGON COASTAL HIGHWAY - NIGHT

A grimy, decrepit pick-up truck barrels down an empty road.

* * *

INT. CHLOE'S TRUCK - NIGHT

CHLOE PRICE takes a long drag of her cigarette.

She's exhausted, barely able to keep her eyes open.

She looks to her side- RACHEL AMBER sleeps peacefully, head against the window.

Chloe

Someone's got the right idea.

Chloe YAWNS. Then, pulls over to the shoulder.

* * *

EXT. CHLOE'S TRUCK - NIGHT

Chloe hops out of her truck, gently closes the door behind her.

Phone in hand, she stretches.

She looks towards the Pacific, the beach, mesmerized by the view.

She unlocks her phone to take a picture, only to see-

(NOTE: Text messages are in italics.)

MAX (TEXT)

I actually just got a full ride to Blackwell and I'm moving

back in August. I'm sorry I didn't tell you, or keep in contact.

At all. I wanted to, but... Just don't go, Chloe.

Please, I miss you.

Chloe's jaw drops, tears well in her eyes.

CHLOE

What the fuck?

Chloe gets back into her truck.

* * *

INT. CHLOE'S TRUCK - CONTINUOUS

She slams the door behind her, loud enough to stir Rachel.

CHLOE

Fuck me.

RACHEL

When and where?

Chloe stays silent. Rachel looks to her, worried.

RACHEL (CONT'D)

All good, Price?

CHLOE

Yeah. Fine.

RACHEL

You sure? Looks like you're crying.

CHLOE

Just pulled a muscle stretching. Hurts like hell.

Rachel's unconvinced.

CHLOE (CONT'D)

Seriously, I'm fine. Get some sleep, Rachel.

We've got a long road ahead.

RACHEL

Way ahead of you, sister. We'll talk about it later.

Rachel quickly dozes off. Chloe sighs.

She starts the car.

* * *

EXT. OREGON COASTAL HIGHWAY

Chloe's pick-up zooms down the road.

A green highway sign reads:

"U.S. ROUTE 101 SOUTH"

 **END TEASER**

* * *

.

* * *

 **ACT ONE**

INT. CAULFIELD HOUSE - MAX'S BEDROOM - NIGHT

A small, neat, artsy room. Hundreds of Polaroid photos in a collage on the wall.

MAX CAULFIELD (18), shoulder-length brown hair in a short ponytail, sits at her desk, hunched over a laptop.

JULIA BOOKER (18), long, wavy blonde hair and thick-framed glasses lies on the bed.

Max tries to write an essay, but can't stop checking her phone.

MAX

Come on, Chloe.

She taps her fingers on her desk. Anxious.

MAX (CONT'D)

Please, Chloe. Text me back.

Max looks at her phone, again.

MAX (TEXT) (CONT'D)

Chloe?

MAX (TEXT) (CONT'D)

Chloe, text me.

MAX (TEXT) (CONT'D)

Where are you going?

MAX (TEXT) (CONT'D)

Please, Chloe.

Max looks up, sighs.

JULIA

Earth to Max.

MAX

Sorry, Julia. My mind's all over the place tonight.

JULIA

Everything cool, Caulfield?

MAX

Yeah, I'm fine.

JULIA

Y'know, not quite convincing enough.

Spill the beans, Max, what's bothering you?

MAX

Just-

She wants to say something, but can't.

MAX (CONT'D)

-I don't want to talk about it.

JULIA

Okay.

Julia stares up at her phone.

Awkward silence, until-

JULIA (CONT'D)

I thought you and Chloe didn't talk anymore.

MAX

Well, yeah, only because I fucked it up.

JULIA

Your life took you somewhere else, it's not your fault.

She could've reached out to you, too, y'know.

MAX

She needed me.

JULIA

No, you needed her to need you.

It's totally different.

Max struggles to stop herself from crying.

MAX

She texted me today.

JULIA

What?

MAX

Yeah. Her and some "Rachel" girl

are running away from Arcadia.

JULIA

No shit.

MAX

Yeah.

JULIA

That's badass. Why'd she text you?

MAX

I don't know.

Beat.

MAX (CONT'D)

You remind me of her, you know.

JULIA

Of Chloe?

MAX

You both have a rebellious nature.

JULIA

Is that why we're friends?

MAX

I'll pretend you didn't ask that.

You both have a dry sense of humor, too.

JULIA

Do you know where she's going?

Max

No. Just that she left.

JULIA

What about her family?

MAX

I haven't heard from Joyce since I left.

Her dad, well, passed.

JULIA

Oh. Sorry.

MAX

I should've been there for her.

(beat)

If you ran away, what reason would you have to text me?

JULIA

Tough to say. Maybe she's not sure if she's

making the right choice? You've always

been a good voice of reason.

(beat)

For as long as I've known you, at least.

MAX

I was thinking the same.

Max checks her phone again. Still nothing.

MAX (CONT'D)

Maybe she wants me to stop her.

* * *

EXT. ROADSIDE RESTAURANT - NIGHT

Chloe's pick-up is the only truck in an otherwise empty lot.

A run-down diner on the side of the highway. Huge, neon sign reads: "24/7 DINER - WORLD FAMOUS BURGERS".

* * *

INT. ROADSIDE RESTAURANT

Chloe and Rachel sit across from one-another in a booth, menus on the table.

Aside from a cashier and a waiter, the place is barren.

RACHEL

I could drive, Chloe. You don't have to do all the work.

CHLOE

You don't have a license and I don't have registration.

RACHEL

I could still drive. You need sleep just as much as I do.

CHLOE

And if we get pulled over?

RACHEL

We're fucked.

CHLOE

Exactly.

JOAN (30s), the waitress, walks over.

JOAN

Evenin' ladies, the name's Joan.

I'll be your waitress tonight. Ready to order?

CHLOE

Two coffees, black. Strongest

you got. Oh, and a burger.

RACHEL

A burger for me, too.

Can't skip out on the "world famous".

JOAN

Great, be back soon with yer orders.

She walks off.

CHLOE

"World famous" my ass. Ten bucks

says Burger King's got it better.

RACHEL

You're on, Price.

Awkward silence.

RACHEL (CONT'D)

New York City.

CHLOE

Right?

RACHEL

You excited?

CHLOE

Hell-fucking-yes.

RACHEL

Literally same.

CHLOE

We'll be, like, The Sopranos but for real.

Hanging at strip clubs, getting rich...

Rachel looks at her sideways.

CHLOE (CONT'D)

Seriously, I'm just excited to be on our own.

No parents breathing down our necks, no image

to uphold, nothing. Just me and you.

RACHEL

And Broadway.

CHLOE

You auditioning?

RACHEL

For everything I can.

CHLOE

What happens when you land every lead role?

RACHEL

Shut up.

The waitress gives the girls their coffees, then walks off.

RACHEL (CONT'D)

I'll land every role, not just the leads.

CHLOE

So some Jack and Jill type shit.

RACHEL

Yeah, but good.

They both sip their coffees.

CHLOE

If anyone could make that movie good, it's you.

Rachel smiles.

RACHEL

As long as I have you by my

side, anything's possible.

* * *

INT. FRANK'S RV - NIGHT

FRANK BOWERS sits on the bed of his man-cave RV. In his hand, Rachel's note.

FRANK

"I'm sorry I led you on for as long as I did, Frank.

You're a good person, and I fucked you over.

There's no excuse for that."

Tears well in his eyes.

FRANK (CONT'D)

"Me and Chloe are leaving Arcadia. Forever.

I wish the best for you, Frank, I really do."

Frank crumples up the note and throws it at the wall.

He gets up from the bed, trashes his RV. Everything... destroyed.

FRANK (CONT'D)

How the fuck could you do this to me, Rachel?!

Pompidou cowers behind a chair.

Frank keeps trashing the place like a category five, until-

He drops to his knees.

FRANK (CONT'D)

I loved you. I loved you so much.

He spots an orange pill bottle on the floor. Crawls to it.

Label reads: "XANAX: 2mg Tablets.

He takes three pills, pops them in his mouth. Then, grabs a bottle of vodka to wash 'em down.

FRANK (CONT'D)

Rachel.

Pompidou runs to Frank, licks his face as his consciousness slips.

* * *

INT. CAULFIELD HOUSE - MAX'S BEDROOM - NIGHT

Julia looks to Max, still at the desk.

JULIA

Dude, you've been checking your phone non-stop.

MAX

I need her to text me back.

JULIA

Just chill, Max. She will.

MAX

What if she's hurt? Or lost? Or worse?

JULIA

She's fine. You said she's like me, right? If that's true, she can handle herself.

MAX

I don't know what to do, Julia. Should I call her mom? What would her mom even say?

JULIA

Just slow down, Max.

MAX

I need to do something. She needs me to do something.

JULIA

Max-

Max quickly gets up, her breaths quicken.

Max paces through the room. Back and forth, back and forth, back and...

JULIA (CONT'D)

Breathe, Max, come on. Deep breaths.

MAX

I... I can't, I just-

Max starts hyperventilating, tears streaming down her face.

MAX (CONT'D)

She... where... she can't leave. Chloe.

JULIA

Max, sit down. Come here. Please.

MAX

I need her. I need to talk to her.

Julia gets up, hugs Max. Leads her to the bed and helps her sit down.

JULIA

Take it easy, Max. I'm here. I've got you.

I've been through this before. I've got you, okay?

Max buries her face in Julia's shoulder. Julia rubs her back.

JULIA (CONT'D)

It's gonna be okay, Max. We'll figure it out, okay?

Suddenly, VANESSA CAULFIELD (40s), Max's mother, steps into the room.

VANESSA

Oh my, Maxine?

JULIA

Your mom's here, Max. We've

got you. Everything's gonna be fine.

MAX

Mom?

Vanessa sits next to her daughter, hugs her. Max switches to her mother's shoulder. Julia stands up.

VANESSA

I've got her, Julia.

JULIA

Yeah, sure. If you need anything...

VANESSA

Thank you, Julia. You're a good friend.

Julia leaves the room, gently closes the door behind her.

MAX

I'm sorry, Mom. I know I'm fucked up. I'm sorry.

VANESSA

You're not, Max. Not at all.

You're the strongest person I know.

Max is sobbing at this point. Vanessa frowns.

VANESSA (CONT'D)

What's the matter, honey? What's wrong?

MAX

Chloe, she... she needs me.

* * *

EXT. ROADSIDE RESTAURANT - NIGHT

Chloe and Rachel walk to their truck.

Rachel fake coughs.

CHLOE

What?

Rachel looks at her slyly.

CHLOE (CONT'D)

Fine. Fuck.

She hands Rachel a ten dollar bill.

CHLOE (CONT'D)

Stupid fuckin' restaurant. Who knew

they'd have such great burgers?

RACHEL

Me.

Chloe laughs.

* * *

INT. CHLOE'S TRUCK - EARLY MORNING

The sun barely peeks over the horizon.

A cigarette rests between Chloe's fingers, window open.

RACHEL

How much longer?

CHLOE

Geez, I don't know, Rach'. New York

is only on the opposite side of the country.

RACHEL

No. Los Angeles, dummy.

CHLOE

Oh. I don't know. A few hours?

RACHEL

Everything okay, Chlo'? You've been weird since we left.

CHLOE

I'm fine.

RACHEL

Damn. You really are a shitty liar.

CHLOE

Fuck off.

RACHEL

You know you can talk to me, right?

CHLOE

Yeah, thanks. Can we not do this right now?

RACHEL

Do what? Talk about your problems?

CHLOE

Fight.

RACHEL

We're not fighting. We're just talking with emotion.

CHLOE

Whatever you say, drama queen.

RACHEL

A queen I am, Chloe. A queen. I. Am.

Chloe can't help but chuckle. Rachel smirks.

RACHEL (CONT'D)

You're kinda hot when you're mad.

CHLOE

That means a lot coming from the Empress of Fire.

RACHEL

Fire sign, fire starter... I think I'm more

of a Goddess than an Empress.

CHLOE

Can't argue with that.

Chloe yawns.

RACHEL

You're kinda hot when you're tired.

CHLOE

Shut up.

Rachel giggles.

RACHEL

You're gonna have to tell me what's up eventually.

CHLOE

Yeah, sure. Eventually. Not right now.

RACHEL

Oh, so there is something wrong.

CHLOE

Learn that tactic from your father?

RACHEL

Ouch. Low blow, Price.

CHLOE

I learned from the best.

Silence, for a moment. Chloe flips through the radio. Nothing good.

CHLOE (CONT'D)

Stupid radio.

RACHEL

Hella stupid.

Rachel plugs her phone into the AUX.

"FORREST GUMP" by FRANK OCEAN hums through the speakers.

CHLOE

Not bad, Rachel. Good song.

Rachel looks to Chloe seductively.

RACHEL

Pull over.

CHLOE

What?

RACHEL

You heard me.

Chloe pulls into the shoulder. Stops the car.

CHLOE

What? Forget something?

RACHEL

(singing)

My fingertips, and my lips. They burn, from the cigarettes.

Rachel unbuckles and climbs on top of Chloe.

She kisses her passionately. Chloe unbuckles, too.

Rachel helps the punk out of her jacket and shirt, kissing her sloppily.

CHLOE

Rachel...

Rachel takes off her shirt, too. Unbuttons her jeans, then Chloe's...

* * *

EXT. CHLOE'S TRUCK - EARLY MORNING

Frank Ocean's "FORREST GUMP" continues playing.

The beautiful colors of sunrise vividly paint the sky.

Through the window, we see the driver's seat lower.

Rachel straddles Chloe, keeps kissing her.

 **END ACT ONE**

* * *

.

* * *

 **ACT TWO**

EXT. LOS ANGELES - DAY

Bumper to bumper traffic as far as the eye can see.

Constant honking as if it'll change anything.

Green sign reads: "LOS ANGELES CITY LIMITS."

* * *

INT. CHLOE'S TRUCK - DAY

Chloe yawns, exhausted.

Rachel, feet on the dash, flips through her music library.

RACHEL

How's this one?

"VIDEO GAMES" by LANA DEL REY plays over the speakers.

CHLOE

Are you sad or something? Jesus.

RACHEL

I'm a kindred spirit, Chloe.

CHLOE

Lana puts me to sleep.

RACHEL

Um, rude.

CHLOE

I've been up for, like, a day straight. At least.

RACHEL

That's not Lana's fault.

Chloe tosses her phone to Rachel.

Her heart drops in her chest.

Fuck, why'd she give Rachel her phone?

Chloe leans her head against the steering wheel.

RACHEL (CONT'D)

You could just let me drive so I could let you sleep.

CHLOE

Sorry Rach', not happening.

Rachel rolls her eyes.

Chloe lifts her head up.

CHLOE (CONT'D)

Put some hype shit on. Something to wake me up, not knock me out.

RACHEL

Fine.

Rachel looks through Chloe's phone. Her brow furrows.

CHLOE

Hurry up, I feel myself slipping.

RACHEL

Stop bitching.

CLOSE ON: CHLOE'S PHONE

Rachel reads the conversation between Max and Chloe.

BACK TO SCENE

She sighs.

RACHEL (CONT'D)

I don't know if you're ready for this one.

The song switches to "LOST IN THE WORLD" by KANYE WEST.

CHLOE

Now that's what I'm talking about, Rach'.

RACHEL

Hella good song.

CHLOE

So how about those VMA's?

RACHEL

Best pop-culture moment in our nation's history. Truly iconic.

CHLOE

Poor Taylor Swift, right?

RACHEL

Fuck Taylor Swift.

CHLOE

Yikes. Tell me how you really feel.

RACHEL

Look, I respect a powerful female figure as much as the

next free woman and I think we, as a nation, are severely

lacking at the moment but, damn, My Beautiful Dark Twisted

Fantasy was worth the hit to feminism.

Chloe laughs.

RACHEL (CONT'D)

Plus, Beyoncé really did have one of the best videos of all time.

CHLOE

I'll tell Maya Angelou you said that.

RACHEL

Street smart and book smart. Everything I look for in a woman.

CHLOE

That's why you're such a catch.

Beat.

RACHEL

Ready to talk yet?

CHLOE

About what?

RACHEL

Whatever is clearly still bothering you.

CHLOE

I don't know what you're talking about.

RACHEL

Okay. Whenever you're ready.

Chloe looks to Rachel, shocked.

CHLOE

Wait, is this real life? Did Rachel Amber just stop trying to get me to talk about my feelings?

RACHEL

Don't get used to it, Chlo'.

CHLOE

Sorry, what was that?

I'm too busy celebrating the moment.

RACHEL

Don't make me turn this car around.

CHLOE

Yeah, with what license?

RACHEL

Touché.

Beat.

CHLOE

This fucking traffic is ridiculous.

RACHEL

There's no place like Los Angeles.

Chloe

You find a hotel yet?

RACHEL

They don't call me the "hotel whisperer" for no reason.

CHLOE

I guarantee nobody calls you that.

(beat)

Cheap place?

RACHEL

Cheapest I could find.

CHLOE

Perfect.

RACHEL

Far from it, actually.

Chloe looks to Rachel.

CHLOE

What do you mean?

RACHEL

You'll see when we get there.

* * *

INT. SEATTLE HIGH SCHOOL OF THE ARTS - CLASSROOM - DAY

Max anxiously taps her pencil on the desk.

Her phone sits face-up on the desk. Polaroid camera in the opposite corner

Max periodically gazes at the clock, then back to her phone.

MRS. GLOVER (30s) stands at the head of the class, solves a math equation on the SmartBoard.

MRS. GLOVER

(to class)

Remember, class, it's important to distinguish correctly between

Sine, Cosine and Tangent. The answers will vary wildly if you mix them up.

Julia steps into class, hurriedly makes her way to the empty desk next to Max.

She looks to the distracted Max.

JULIA

Max.

MRS. GLOVER

(to class)

You can remember the differences between the

three using the term: "SOH-CAH-TOA".

"SOH" stands for 'sine multiplied by cosine over hypotenuse'.

JULIA

Max? Hello? You there?

MAX

Oh. Hey Julia. Sorry.

JULIA

Rough night, huh?

MAX

Yeah. Sorry you had to be there for that.

MRS. GLOVER (CONT'D)

(to class)

"CAH" stands for 'cosine multiplied

by adjacent over hypotenuse'.

Mrs. Glover looks to Julia.

MRS. GLOVER

Make sure you're writing this down, Julia.

JULIA

Sure thing, Mrs. Glover.

She looks back to Max.

JULIA (CONT'D)

Don't be sorry, Max. I'm here for you, always. Like I said, I've been through it before.

MAX

It means a lot. I feel bad. We were supposed to be hanging out last night.

JULIA

Stop apologizing for shit you can't control. You didn't choose to have panic attacks.

MAX

I know, I'm sorry.

JULIA

Now you're doing it to be annoying.

Max smiles.

She looks at her phone. Nothing from Chloe.

Her smile quickly fades.

MRS. GLOVER

Maxine, no phones in class.

MAX

Sorry.

Max puts the phone away.

JULIA

Dude, this Chloe chick is really fucking with you, isn't she?

MAX

Nice observation, Sherlock.

JULIA

Wow, kitty has claws!

MRS. GLOVER

(to class)

And, as I'm sure you could expect, "TOA" stands

for 'tangent multiplied by opposite over adjacent'.

Max can't help but check her phone again. Nothing.

JULIA

Dude, she'll text you back-

MAX

Can we talk about this later?

I don't need a repeat of last night right now.

Julia sighs.

JULIA

I'll hold you to it.

* * *

INT. FRANK'S RV - DAY

Frank lies on the RV's floor. Eyes wide open. Bloodshot.

Pompidou lies next to him.

FRANK

Ugh, my head. Jesus.

Frank sits up.

FRANK (CONT'D)

Need. More.

Frank struggles to get up, but manages.

Stumbles to the table, rolls a blunt, takes a couple xanax out of a bottle.

FRANK (CONT'D)

Fuckin' Rachel, man.

He takes a long hit of the blunt, washes down the pills with some vodka.

FRANK (CONT'D)

I need some food.

He walks slowly towards the cabinet. Opens it wide, and-

Nothing.

FRANK (CONT'D)

Knew I shoulda hit the Safeway. God damn it.

Frank gets behind the wheel.

Pompidou walks up next to him, barks a couple times.

FRANK (CONT'D)

Don't worry, Pompidou. I'm good to drive.

Pompidou whimpers.

FRANK (CONT'D)

For the next half hour, at least.

Buckle up, little man.

Frank puts the RV in gear.

* * *

EXT. SEATTLE SCHOOL OF THE ARTS - DAY

Max and Julia walk shoulder to shoulder.

Polaroid camera in Max's hand.

JULIA

Don't hesitate to call, cool?

MAX

Thanks, Julia. Sorry I've been a massive bitch today.

JULIA

You've got a lot on your mind.

Julia heads in another direction. Looks back to Max.

JULIA (CONT'D)

Call me later.

MAX

Yeah. Will do.

Julia walks off.

Max slowly trudges along, yawns periodically.

Suddenly, KYLIE WHITE (18) steps in her way.

JESSIE BRANNIGAN (17) steps behind Max.

KYLIE

Still carrying that dorky camera everywhere you go.

JESSIE

Seriously, dweeb. Use an iPhone like the rest of us.

MAX

Every artist has their own style. Just leave, I'm not in the mood.

KYLIE

Aw, hear that? She's not in the mood.

JESSIE

So sad. I almost feel bad for her but, wait, I really don't!

KYLIE

Such a pretentious bitch. You think you're better than us because you can take a pretty picture?

MAX

No, not at-

Kylie snatches the camera out of Max's hands.

Quickly snaps a picture of Max.

Then, Kylie tosses the camera over Max's head. Jessie catches it.

MAX (CONT'D)

Come on, give it back.

KYLIE

Nah, I don't think so.

Jessie tosses it back to Kylie.

Kylie catches it, snaps another pic.

KYLIE (CONT'D)

Wow, Max. You're a natural.

She tosses it to Jessie. This time, Jessie doesn't catch it.

The Polaroid shatters on the concrete ground.

JESSIE

Shit.

KYLIE

Seriously? You just had to catch it.

JESSIE

I'm not a fucking ball catcher, Kylie!

KYLIE

Come on, Jess. Let's go.

They hurry off.

Max kneels next to the broken camera.

She struggles to pick up the pieces. Fitting.

* * *

EXT. CASTLE MOTEL - DAY

An ugly, dilapidated motel in the heart of south-central Los Angeles. Barbed wire on the fences nearby.

A sign, missing letters, reads: "A LOT of VACANCIES".

Chloe's truck turns into the lot.

* * *

EXT. CASTLE MOTEL - INTERIOR LOT - DAY

The truck pulls into a parking spot.

Chloe and Rachel hop out, walk to the front desk.

Nobody's there.

CHLOE

Um, hello? Bueller?

RACHEL

Nice one.

CHLOE

I'm full of 'em.

RACHEL

Full of something else, too.

Chloe playfully punches Rachel's shoulder.

CHLOE

Shut up.

Chloe rings the bell.

OMAR MANUJA (40s), a small, Indian man steps up to the desk. Looks Chloe in the eyes.

OMAR

Yes?

CHLOE

We'd like to rent a room for the night.

OMAR

Mhm.

RACHEL

So... can we?

OMAR

Interesting.

CHLOE

What?

RACHEL

Yeah, seriously.

OMAR

Nothing. I've just never seen white people here before.

Especially a couple of white girls like you two.

RACHEL

What's that supposed to mean?

OMAR

Just an observation, ma'am.

CHLOE

Can we rent a room or not?

OMAR

Sure. You two a couple of those lesbians?

RACHEL

Hell yeah we are. What of it?

OMAR

Just wondering if my wife and I could watch, is all.

CHLOE

Fuck off, dude.

RACHEL

Chloe.

OMAR

Language, miss. You people don't get no privilege in this hotel, got it?

RACHEL

She meant nothing by it.

CHLOE

Why are you being nice to this prick?

Rachel grabs Chloe's arm and pulls her to the side.

RACHEL

We're broke, Chloe, and this is the cheapest place I could find.

CHLOE

Dude's a fucking asshole, Rach'.

RACHEL

It's south-central Los Angeles, Chlo'. What did you expect?

Chloe sighs.

CHLOE

Fine. Let's just pay the fucker already.

Rachel steps up to the desk. Chloe heads back to the truck.

RACHEL

One night, please.

OMAR

Seventy bucks.

RACHEL

Seventy? Seriously? The website said fifty.

OMAR

Well, your husband was very rude to poor old Omar.

RACHEL

She's my girlfriend. Fifty-five.

OMAR

Seventy-five.

RACHEL

Sixty.

OMAR

Sixty-five, final offer. Pay up, or find somewhere else.

Rachel hands him the cash.

OMAR (CONT'D)

Smart girl. I can tell you're the woman in the relationship.

Omar hands Rachel a key. Rachel turns to Chloe and nods, tosses her the key.

Chloe catches it, grabs their bags out of the pick-up's bed.

Rachel turns to walk away, a few steps until-

OMAR (CONT'D)

Keep it quiet up there, ladies.

If I hear something I don't like, you two are gone.

RACHEL

Whatever.

(under breath)

Asshole.

* * *

EXT. TWO WHALES DINER - DAY

Frank's RV sits in the crowded lot.

Sloppy parking - the thing takes up at least three spaces.

* * *

INT. TWO WHALES DINER - DAY

Frank sits alone at a booth.

He uncrumples Rachel's note. Stares at it.

His vision blurs a bit. Drugs are kicking in.

JOYCE PRICE approaches. She looks... disheveled, not like herself.

JOYCE

Good to see you, Frank. The usual?

FRANK

I... I don't know anymore.

JOYCE

You okay, Frank? You never turn down the chili.

FRANK

I didn't... I did not turn it down.

JOYCE

So you do want the chili?

FRANK

Yes. Chili. You look like shit. Pardon my French.

JOYCE

Language. It was a tough night. I'd rather not talk about it if that's-

FRANK

-Chloe, right? She took my lioness.

JOYCE

What about Chloe?

FRANK

My Rachel. She took her.

Joyce steps back in shock.

JOYCE

You know about Chloe?

FRANK

Gone. For good this time. Here.

He hands her the note.

Joyce reads it.

JOYCE

They what?

FRANK

Drugs. Kicking in. Oh, god. Rachel?! I love you.

Joyce drops the note and runs out of the diner.

Frank sits there, spaced out.

FRANK (CONT'D)

Hey, hey. Wait.

He looks around.

FRANK (CONT'D)

(slurring words)

What about my god damn chili?

* * *

INT. CASTLE MOTEL - BEDROOM - DAY

Chloe lies on the bed.

Rachel steps out of the bathroom, only wearing a towel.

She looks in her bag and puts together an outfit.

RACHEL

Get up, Chloe. Come on.

CHLOE

Just leave me alone. I'm not in the mood.

RACHEL

We're only in Los Angeles for today and we're not gonna stay in and sleep. Get up.

CHLOE

I'm tired and sad. Just go.

Rachel sighs. Looks in Chloe's bag, puts together an outfit, tosses it on the bed.

RACHEL

Shower. Get dressed, and let's go.

CHLOE

Where? I'm exhausted.

Chloe sits up.

Rachel sits next to her.

CHLOE (CONT'D)

Come on, you know I hate secrets.

RACHEL

You hate everything.

CHLOE

Not you.

RACHEL

Exactly. Just trust me, Chlo'.

Chloe sighs.

CHLOE

Fine. But you owe me.

Rachel kisses her.

RACHEL

That cover it?

CHLOE

It's a start, but I'm gonna need more than

just a kiss. This isn't 'The Tempest' anymore, Rach'.

RACHEL

Maybe I'll give you the rest later.

Chloe blushes, grabs her clothes and runs to the bathroom.

Rachel sits for a moment, until- she hears the shower. Nice.

RACHEL (CONT'D)

Hurry up in there!

CHLOE (O.S.)

Going as fast as I can!

Rachel smiles, lies her outfit out on the bed.

CHLOE (O.S.) (CONT'D)

Can you tell me where we're going?

RACHEL

Nope, sorry!

Chloe lets out a loud sigh.

Rachel can't help but giggle.

RACHEL (CONT'D)

(to herself)

There's no place like home.

Rachel's phone vibrates. She checks it, sees-

MR. JEFFERSON (TEXT)

Where the fuck are you?

Rachel turns the phone off and sighs.

RACHEL

(to herself)

Motherfucker.

 **END ACT TWO**

* * *

.

* * *

 **ACT THREE**

INT. CAULFIELD HOUSE - MAX'S BEDROOM - DAY

Max steps into her tidy room, closes the door behind her.

The way the sun shines through the blinds is nothing short of beautiful.

Max tosses her backpack to the side, places the broken camera on her desk.

She whips out some tiny tools, sits down and gets to work.

* * *

EXT. PRICE HOUSE - DAY

Joyce hurries to the front door of her house, heels clicking on the pavement.

* * *

INT. PRICE HOUSE - DAY

Joyce steps in, kicks her heels off and closes the door.

JOYCE

David?

No answer.

JOYCE (CONT'D)

David? We need to talk!

DAVID (O.S.)

All right, Jesus!

DAVID MADSEN steps into the foyer from the garage.

Joyce is on the verge of an emotional breakdown.

David hugs her.

DAVID (CONT'D)

It's gonna be okay, honey. She's probably just at the

junkyard or with that girlfriend of hers. She'll turn up.

JOYCE

No. Not this time.

DAVID

What?

Joyce pulls out of the tight hug, hands David the letter.

He reads it.

DAVID (CONT'D)

Holy shit. Rachel wrote this?

JOYCE

Yeah, for Frank.

DAVID

Bowers?!

JOYCE

Yes but that doesn't matter.

She left Arcadia with Chloe.

DAVID

You should call Rachel's parents.

JOYCE

It all makes sense now. She wanted a job to

save money to run away. She fixed up that car and-

DAVID

-Joyce. Calm down. Call Rachel's

parents. They need to know.

* * *

INT. CHLOE'S TRUCK - DAY

Rachel looks to Chloe.

Then, outside.

RACHEL

Park here.

She points to an empty spot. A rare commodity.

Chloe follows Rachel's directions.

CHLOE

Where are we?

RACHEL

Come on, I'll show you.

They hop out of the truck, to-

* * *

EXT. LONG BEACH - DAY

A quaint little neighborhood nestled in Los Angeles, close to the beach.

Rachel grabs Chloe's hand. They walk happily, hands intertwined, without a care in the world.

CHLOE

Where are we?

RACHEL

Long Beach.

CHLOE

You grew up here, right?

RACHEL

Yeah.

They stop in front of a pretty, peaceful little house.

RACHEL (CONT'D)

Right here, actually. Nice, right?

CHLOE

Smaller than I expected.

RACHEL

That's what she said.

(beat)

Not everywhere could be as grand as the D.A's mansion, Chloe.

CHLOE

What was it like?

RACHEL

What?

CHLOE

Growing up here?

RACHEL

Different, to say the least. It was nice living near a

real beach. I know there's a beach in Arcadia Bay but

it's different here. Everything felt alive in a way Arcadia never could.

CHLOE

Sounds nice.

RACHEL

It was. I remember my Dad would take me there, sometimes.

To the beach. There'd always be this guy playing his guitar on the

boardwalk and these three little kittens that'd run

around him. The guy never asked for money, though.

CHLOE

I find that hard to believe.

RACHEL

I would too, Chlo'. But he never did.

He was just content living his life there, strumming

his guitar for tourists and locals and animals.

Whoever would listen, really.

They keep walking.

RACHEL (CONT'D)

It's a memory that's always stuck with me, ever

since I was a little girl. I've longed for that

happiness my whole life.

CHLOE

What would make Rachel Amber happy?

I mean, I know things turned to shit in

Arcadia, but you had everything a girl could want.

RACHEL

I mean, I was... To an extent. I did have everything and

I know I did; money, friends, admirers, grades, respect. Everything

anyone else would've worked their whole life

for. But... I don't know. All it ever felt like was a heavier

weight on my back, you know? Another unrealistic expectation to live up to.

And I think back to guitar man and how he probably lived under

the boardwalk with his kittens, didn't have a cent to his name, but

still managed to be happier than anyone I ever knew.

He just played song after song, not a worry in the world.

Rachel smiles, looks to the blue-haired punk.

RACHEL (CONT'D)

To answer your question, I don't know what would

make Rachel Amber happy, Chlo'. I never did, and I thought

I never would. But then I met you. And I felt something, something

special for the first time since I was that little girl

listening to the homeless guy's song, petting the little kittens.

CHLOE

Rachel-

RACHEL

-You're my guitar, Chloe. My walking Long Beach. But Arcadia Bay

would've killed me- us. It was holding us back.

Chloe puts her hand on the side of Rachel's face.

They kiss, with the same passion they had in the dimly lit streets after 'The Tempest'.

* * *

INT. PRICE HOUSE - DAY

Joyce stands in front of the land-line phone.

She reaches for it, but hesitates to grab it.

David walks behind her, places his hand on her shoulder.

DAVID

If they can help us find Chloe...

Joyce sighs. Grabs the phone, dials a number.

The phone rings, rings, rings, until-

ROSE (V.O.)

Amber residence. Who's speaking?

JOYCE

(over phone)

Hi, Rose. Joyce Price.

ROSE (V.O.)

I'm glad you called. Is Rachel-

JOYCE

(over phone)

No. She's not here, but neither is Chloe.

ROSE (V.O.)

They aren't here, either. We've been worried sick, but this isn't the first time. Did you check the junkyard?

JOYCE

(over phone)

They're gone, Rose.

Silence.

JOYCE (CONT'D)

(over phone)

I have a note. You and James need to come over as soon as you can.

* * *

EXT. LONG BEACH, CALIFORNIA - BOARDWALK - DAY

Chloe and Rachel walk down the crowded boardwalk, hands locked.

CHLOE

Thanks for telling me all that back there. It means a lot.

RACHEL

Don't get all sappy on me, Chloe Price.

CHLOE

Who else am I gonna get mushy with?

RACHEL

Point taken.

They stop in front of a bar.

Neon sign above the door reads: "LIVE MUSIC".

RACHEL (CONT'D)

You got your fake on you?

Chloe pulls it out of her back pocket.

CHLOE

Always.

RACHEL

That's my girl.

They show their fake I.D's to the BOUNCER (30s). He nods, holds the door open for them.

BOUNCER

Enjoy, ladies.

Rachel and Chloe step into-

* * *

INT. BOARDWALK BAR - DAY

A somewhat cramped, extremely crowded bar.

Seats at the actual bar are filled up.

Towards the back, some punk band rocks out on a small stage. People CHEER.

Most tables are occupied, too - except one in the far corner.

The girls hurry over.

* * *

INT. BOARDWALK BAR - THE BOOTH

Chloe takes a seat. Rachel doesn't.

RACHEL

I'll get us some drinks. Pick your poison.

CHLOE

Something hard.

RACHEL

Again, that's what she said. I've got you, Chlo'. Don't go anywhere.

Rachel leaves Chloe to herself.

Chloe takes out her phone.

CHLOE

Holy shit.

Twenty missed calls: half from Joyce, half from Max.

CHLOE (CONT'D)

Fuck me.

* * *

INT. BOARDWALK BAR - THE BAR

Rachel pushes her way through a crowd, to the bar.

A BARTENDER (20s) does bar stuff on the other side.

BARTENDER

What can I get you, hot stuff?

RACHEL

A couple Long Beach Tea's.

BARTENDER

Can I see some I.D.? I don't usually ask pretty girls

but my boss has been up my ass lately.

Rachel flashes him her I.D. He shrugs.

BARTENDER (CONT'D)

An obvious fake but, again, you're hot.

Two Long Beach's coming up!

RACHEL

Thanks.

She looks back to her booth. Chloe sits there, hunched over her phone.

Rachel turns back to the bar and sighs.

* * *

INT. BOARDWALK BAR - THE BOOTH

Chloe stares at her phone. Max's contact pulled up on the screen.

Her finger hovers over the call button, for a moment. Until-

Rachel puts the drinks on the table.

RACHEL

Cheer up, buttercup. Gotcha

something to take the edge off.

She slides Chloe's Long Beach tea to her.

CHLOE

Thanks.

Rachel sits across from her.

RACHEL

Ever had one of these?

CHLOE

Haven't been to Long Beach before so... No.

RACHEL

The punk's got some bite to her, doesn't she?

I like a bit of attitude in a woman.

CHLOE

Have you?

RACHEL

What?

CHLOE

Ever had one of these?

RACHEL

My dad used to fill my sippy cups with it.

CHLOE

So that's why Rachel Amber

is so fucked up.

RACHEL

Hopefully I'll be a bit more

fucked up in a few hours.

They both take a sip.

RACHEL (CONT'D)

Come on, Chlo'. Let's dance!

CHLOE

I don't know, I'm not really in the mood to-

Rachel gets up, grabs Chloe's wrist and pulls her to-

* * *

INT. BOARDWALK BAR - DANCE FLOOR

They push their way to the front, reminiscent of "FIREWALK" at the Old Mill in Arcadia.

They dance wildly. Arms flailing, hair thrashing, fists pumping. Legs jumping.

It goes on for a song or two. But, eventually, Chloe stops.

Rachel doesn't notice.

CHLOE

I can't do this shit anymore.

Chloe pushes her way out of the crowd, towards the front, then out the door, to-

* * *

EXT. LONG BEACH, CALIFORNIA - BOARDWALK

She pushes her way through the door, across the boardwalk.

Her eyes puffy and red.

She sits down on a wooden bench, buries her face in her palms.

* * *

INT. CAULFIELD HOUSE - MAX'S BEDROOM - DAY

Max sits crisscross applesauce on her neatly made bed.

In front of her lies a BLACKWELL ACADEMY BROCHURE and her phone, CHLOE'S CONTACT INFO on the screen.

She gazes back and forth between the two, slowly.

Max sighs.

MAX

Maybe I should weigh the pros and cons for each, right?

She takes a moment to think, looks to the brochure.

MAX (CONT'D)

Blackwell Pros: Mark Jefferson, back in Arcadia, Two Whales. Blackwell Cons: No Chloe.

Now, she looks to her phone.

MAX (CONT'D)

Chloe Pros: Chloe, less guilt over abandoning her, Chloe again.

Chloe Cons: I don't know where she is, I don't know who Rachel is, and I miss out on Jefferson.

She sighs, again.

MAX (CONT'D)

Damn.

KNOCK, KNOCK, KNOCK!

Max looks to the door.

MAX (CONT'D)

Yes?

VANESSA (O.S.)

Maxine? Everything all right in there? You've been quite today, more so than usual.

MAX

I'm fine, Mom. Thanks for checking in.

VANESSA (O.S.)

If you need anything, Max, I'm here for you.

MAX

I know, Mom. Love you.

VANESSA (O.S.)

Love you too, sweetheart.

Max listens intently as Vanessa's footsteps fade.

She grabs the brochure, tears it in half, gets up, tosses it in the trash.

MAX

Chloe, where the hell are you?

* * *

INT. BOARDWALK BAR - DANCE FLOOR - DAY

Rachel's still thrashing as the song comes to a close.

RACHEL

This is hella amazing, right Chlo'?

No response.

Rachel stops dancing, looks around. Her blue haired girlfriend is nowhere to be seen.

RACHEL (CONT'D)

Chloe, where the hell are you?

* * *

INT. BOARDWALK BAR - THE BAR

Rachel struts to the bar. Pushes through the crowd, again.

RACHEL

Yo, bartender guy!

He turns to look at her.

BARTENDER

Back for more, huh?

Want my number this time?

RACHEL

I'm gay, dude. Speaking of, you see a

blue haired girl around here?

BARTENDER

Yeah, yeah. Maybe. Tall glass of

water, right? Punk?

RACHEL

So you've seen her.

BARTENDER

Can't say, my memory's a little foggy. I think I lost

something. Ten dollar bill. You seen it?

RACHEL

Really? Come on, dude. Can't you help a girl out?

BARTENDER

Sorry, didn't quite catch that.

RACHEL

Can't you just-

The Bartender shrugs.

RACHEL (CONT'D)

-Fine. Dickhead.

Rachel hands him a ten dollar bill.

BARTENDER

You know what, it's all coming

back to me now! I think she went outside.

Rachel sighs, pushes out of the crowd.

* * *

EXT. BOARDWALK BAR - DAY

Rachel steps outside, spots Chloe sitting on a bench.

She walks to her sad girlfriend, sits next to her.

Awkward silence, until-

RACHEL

Hey.

CHLOE

Hey. Sorry.

RACHEL

It's cool. You missed a hella good song, Chlo'.

CHLOE

Sorry, Rach'. I just wasn't in the mood to thrash.

RACHEL

Still a little sad, huh?

CHLOE

Sad Chloe's being sad again, right?

Sorry to be such a buzz-kill.

I know I should be happy.

RACHEL

You can't control the way you feel, Chloe.

But it's cool. The bartender was a

creepy fuck anyways.

Chloe perks up.

CHLOE

You know I'll kick his ass.

RACHEL

There's the Chloe I know and love.

CHLOE

I wish she could be around more often.

RACHEL

Hey, this Chloe's awesome, too.

CHLOE

Oh, yeah?

RACHEL

Hella-fucking-yes. She's sweet, emotional and cuddly when

she's like this. She's kind of cute, really.

Chloe glares at Rachel.

RACHEL (CONT'D)

Right. Not cute. Hot.

CHLOE

That's more like it.

Rachel practically jumps up from the bench.

RACHEL

What do you say we get a picture?

Remember this moment forever.

CHLOE

I don't know.

RACHEL

Get your ass up, Chloe.

Chloe smirks and follows directions.

Rachel stops a MAN (20s) walking by.

RACHEL (CONT'D)

Can you get a pic of us?

MAN

Yeah, sure.

Rachel hands him her phone. Chloe does the same.

RACHEL

Make sure the beach is in it.

The girls get in position. Chloe wraps her arm around Rachel, uses her free hand to flip the bird.

MAN

Three, two, one...

SNAP! The camera flashes.

A second time shortly after, this time from Chloe's phone.

He hands the girls their phones.

RACHEL

Thanks.

The Man walks away.

Rachel and Chloe look at their pictures.

RACHEL (CONT'D)

Always gotta stay in character, right?

CHLOE

You know me too well.

RACHEL

Let's get out of here. Back to the hotel?

CHLOE

Yeah, sure. Works for me.

Chloe lags behind Rachel, for a second.

Chloe navigates to MAX's message thread.

CLOSE ON: CHLOE'S PHONE

She selects the picture. Caption says:

CHLOE (TEXT) (CONT'D)

greetings from los angeles

Chloe's finger hesitates for a moment, but then-

She hits send.

BACK TO SCENE

Chloe slips her phone in her pocket.

RACHEL

Hurry up, slow poke! We're burning daylight!

Chloe smiles and jogs to Rachel.

Their hands intertwine once again.

 **END ACT THREE**

* * *

.

* * *

 **ACT FOUR**

INT. CASTLE MOTEL - BEDROOM - LATE AFTERNOON

The grungy, empty hotel room, until...

The door creaks open. Chloe and Rachel step in, laughing.

RACHEL

"I usually don't ask pretty girls but my boss has been up my ass lately."

CHLOE

Fuck, no way the dude said that!

RACHEL

I cringed so hard I thought my teeth were gonna break.

Chloe laughs.

CHLOE

Glad I rescued you then, huh?

RACHEL

Only returning the favor, Chlo'.

Chloe sits on the bed, looks to the hanging clock: 6PM.

Rachel digs through her bag.

RACHEL (CONT'D)

Don't even think about it.

CHLOE

Come on, I'm exhausted.

RACHEL

Maybe you should've just let me drive...

CHLOE

How about on the way to the next pit stop?

RACHEL

Don't make a girl a promise if you know you can't keep it.

CHLOE

Wow. And I'm the nerd.

RACHEL

Hey! I loved that game growing up.

Chloe lies back.

RACHEL (CONT'D)

Where are we headed next, anyways?

CHLOE

Good question.

RACHEL

We can go anywhere we want, you know.

CHLOE

"The corners of the world our mere prologue", right?

RACHEL

Right.

(beat)

San Diego?

CHLOE

I've had my So-Cal fill.

RACHEL

You don't like my home town? Low blow, Chlo'. Low blow.

CHLOE

Come on, Long Beach was beautiful.

RACHEL

How about Phoenix? Heard there's some hella crazy parties out there.

CHLOE

We'll figure it out in the morning, Rach'.

RACHEL

Spontaneous. I think I'm rubbing off on you.

CHLOE

Hella good observation, Rach'. Wow.

RACHEL

Okay, definitely rubbing off on you.

CHLOE

Did you just say you wanna rub one off to me?

Rachel looks to Chloe. She smiles

RACHEL

Um, wow. Nice one.

Rachel tosses a speaker to Chloe.

CHLOE

What's this?

RACHEL

Someone owes me a dance for making me leave the club.

* * *

INT. CAULFIELD HOUSE - MAX'S BEDROOM - LATE AFTERNOON

Max stands at the door, hand hovering near the doorknob.

MAX

Come on, Max. Come on.

She slowly twists it, pulls the door open.

* * *

INT. CAULFIELD HOUSE - DINING ROOM - MOMENTS LATER

RYAN CAULFIELD (40s) and Vanessa sit at the dining room table, share a meal.

VANESSA

I'm really worried about her.

RYAN

Me too. I thought she was getting better.

VANESSA

She mentioned Chloe last night.

RYAN

Maybe we should take her to see someone again, like back then.

Faint footsteps from the stairwell, Eventually-

Max emerges.

RYAN (CONT'D)

Hi, honey. We were just talking about you.

VANESSA

Ryan-

MAX

-Mom. Dad. I need to tell you guys something. Something important.

RYAN

Sure thing. Take a seat, Pete.

Max takes a seat.

RYAN (CONT'D)

What's up?

MAX

Chloe's missing. I know where she is, and I need to help her.

Vanessa and Ryan awkwardly exchange glances.

* * *

INT. CASTLE MOTEL - BEDROOM - LATE AFTERNOON

Music BLASTS from Rachel's little speaker.

Chloe and Rachel party like its 1999 - like they're in a mosh pit at a rave.

Suddenly, three loud KNOCKS on the door.

OMAR (O.S.)

Hey, what did I tell you two!? What did I say!?

RACHEL

Shit!

She hurries to the speaker, pulls the plug. The music cuts off. She looks to Chloe.

CHLOE

You answer it.

Rachel sighs, opens the door.

RACHEL

Hi, sir. What seems to be the problem?

OMAR

You only had one rule to follow. One. And you broke it.

RACHEL

What're you talking about?

OMAR

I told you that I'd kick you out if I heard something I didn't like. I don't like what I heard, so-

RACHEL

-You're kicking us out.

OMAR

Yes! Exactly. You two are gone. Now.

RACHEL

Put yourself in our shoes. We've been on the road for days.

We're exhausted and poor, and all we need is a place to stay.

One night only. Can't you just help us out, please?

OMAR

It's not my fault you broke the rules.

RACHEL

You know what? You are such a-

CHLOE

-Rachel.

Rachel looks to Chloe.

RACHEL

What?

CHLOE

Let's just leave. At least we'll get our money back.

RACHEL

We have nowhere else to go.

OMAR

Not. My. Problem. And, no, you

won't get your money back. All sales are final.

RACHEL

Seriously? All sales are final?

What is this, Forever 21?

CHLOE

You really are a bit of a prick, dude.

Omar shrugs.

Chloe and Rachel start packing their bags.

* * *

INT. PRICE HOUSE - DINING ROOM - LATE AFTERNOON

Joyce and David sit on one side of the table, Rose and JAMES AMBER on the other.

JOYCE

I'm glad you guys were able to make it.

JAMES

Anything for Rachel.

DAVID

Rachel and Chloe.

JAMES

Sure. Rachel and Chloe.

ROSE

James.

Joyce pulls Frank's note from her pockets, hands it to James.

JOYCE

This is the letter Frank gave me.

JAMES

Bowers?!

DAVID

Yeah. Bowers.

JAMES

Of course. You must be disappointed that your

daughter was so deeply involved with

Arcadia's criminal underbelly.

DAVID

Your daughter, Amber. Not ours.

James and Rose read the note.

JAMES

It's a shame that Rachel was introduced to this side of the town.

DAVID

Don't pin this on my daughter.

JAMES

Rachel is an adult, and she's responsible for her

own actions. But I know my daughter, Mr. Madsen, better

than you. Better than Chloe. She never would've

met Bowers without outside influence.

DAVID

Watch your mouth, soldier.

Do not disrespect my daughter in

front of my wife, in my home.

JOYCE

Enough. Both of you.

Don't you see what's at stake?

ROSE

I agree, Joyce. Our daughters come first.

JAMES

Rachel would never do something like

this, Rose, and you know it just as well as I do.

DAVID

Oh, please. You know just as well as I do that Chloe

would never do something like this to her mother.

Not until she met Rachel.

JAMES

Mr. Madsen, if you believe that this is Rachel's doing, I understand.

We're all entitled to our own beliefs and, if that's what's

helping you get through this precarious situation, then so be it.

I'd never take that right away from you.

ROSE

James! Enough.

JOYCE

We need a plan to bring our babies home.

DAVID

Right. Sorry, honey.

JOYCE

James. Since you're the District Attorney, what

do you think we could do?

DAVID

Seriously?! You're gonna

ask him first instead of me?

JAMES

It's a tough call. Legally speaking, the girls are

adults now. They didn't really run away from home.

JOYCE

What?

JAMES

They just left without telling us. Chloe and Rachel - they're

old enough to make their own decisions.

JOYCE

So, what, that's it? There's nothing we could do?

JAMES

I could try to get the police involved but I'm not sure what

good they would do. Again, Rachel and Chloe technically aren't missing.

DAVID

Bullshit. If you don't want

to save them, I will.

ROSE

We're just thinking logically, David. What good

could anyone do? The girls made a choice.

DAVID

I'll go get 'em back.

Track Chloe's plates, or something.

JOYCE

David, no.

DAVID

Excuse me?

JOYCE

Who knows where they could be? And, even if you

do find them, Chloe would never go with you.

(beat)

Let me go.

DAVID

Absolutely not, Joyce. I won't let

you go alone. It's too dangerous.

JOYCE

Have either of you gotten in touch with Rachel?

JAMES

Not for lack of trying. She won't answer.

DAVID

We're in the same boat.

JOYCE

Well, we can't just give up, right?

What if they're in trouble?

DAVID

Why don't one of you two go?

JAMES

I have obligations to uphold, David. I can't just leave

Arcadia Bay without a District Attorney

for God knows how long. And, Rose-

Rose frowns. James notices.

JAMES (CONT'D)

-Rose and Rachel aren't close.

Rachel wouldn't return.

DAVID

So, from what I understand, we

have no chance here.

JOYCE

Don't say that, David.

Maybe they'll call-

Joyce's phone BUZZES.

Joyce scrambles. Answers without checking the ID.

JOYCE (CONT'D)

(over phone)

Chloe?!

VANESSA (V.O.)

Hi, Joyce. It's Vanessa.

Caulfield, Maxine's mother?

JOYCE

(over phone)

Oh. Vanessa?

VANESSA (V.O.)

It's been a while, I know.

JOYCE

(over phone)

That's for sure. I do not mean to

be rude, but... Why are you calling?

VANESSA (V.O.)

I'm... not exactly sure of the whole story.

Max said something about Chloe running away?

JOYCE

(over phone)

Chloe, she-

VANESSA (V.O.)

-Max could fill you in. Is now a good time?

Joyce, mouth agape, scans the room. David shrugs.

Rose and James watch Joyce intensely.

JOYCE

(over phone)

Yes. Can she talk now?

* * *

INT. CASTLE MOTEL - INTERIOR LOT - LATE AFTERNOON

Chloe and Rachel throw their bags into the back of Chloe's pick-up. Omar watches from a safe distance away.

Chloe looks to Rachel. Rachel shrugs.

* * *

INT. CHLOE'S TRUCK - MOMENTS LATER

Chloe's settled. Rachel climbs in, SLAMS the door.

CHLOE

Now what? We've gotta find a new place, right?

RACHEL

We'll find something.

CHLOE

Will we? Los Angeles isn't exactly

known for its vacant hotels.

RACHEL

We found this one, didn't we?

CHLOE

Yeah, and someone had to fuck it up.

RACHEL

Seriously? You're blaming me?

CHLOE

You're the one who wanted to dance.

I would've been fine fucking and sleeping.

RACHEL

Fucking?

CHLOE

You owe me one. Remember?

RACHEL

How could I forget?

CHLOE

But now, we've already been fucked.

You and Omar just tag teamed us.

RACHEL

Sounds hot.

Chloe doesn't respond.

RACHEL (CONT'D)

You're right. I'm sorry.

CHLOE

Whatever.

RACHEL

Don't be like that. I promise I'll

make it up to you at the next place.

CHLOE

If we find one.

Rachel leans her head against the glass.

RACHEL

Can I take you to one more

spot before we leave?

CHLOE

I'm still pissed at you.

RACHEL

Santa Monica Pier. If we leave

now, we'll make it in time for sunset.

Chloe puts the truck in reverse.

* * *

INT. CASTLE MOTEL - INTERIOR LOT

Chloe's pick up backs out of its spot, drives out of the motel.

Omar waves goodbye.

OMAR

Good riddance.

He stumbles back to the front desk.

* * *

INT. CAULFIELD HOUSE - MAX'S BEDROOM - LATE AFTERNOON

Max sits at her desk, browses on her laptop.

On the bed, clothes neatly packed in a suitcase.

MAX

Here goes nothing.

CLOSE ON: LAPTOP SCREEN

Mouse cursor hovers over a green "PURCHASE" button.

Above it, reads:

"SEATTLE-TACOMA INTERNATIONAL AIRPORT (SEA) to

PORTLAND INTERNATIONAL AIRPORT (PDX) (11:15 pm - 12:09 am+1)"

Suddenly-

CLICK! The page loads.

BACK TO SCENE

Max sighs deeply.

MAX (CONT'D)

I'm coming for you, Chloe.

 **END ACT FOUR**

* * *

.

* * *

 **ACT FIVE**

EXT. SANTA MONICA - BOARDWALK - EARLY EVENING

Chloe and Rachel walk along a crowded boardwalk.

RACHEL

My Dad always used to take me here too, you know.

CHLOE

Yeah?

RACHEL

Once a week, sometimes more. We'd always sit at the end of the

pier and watch the sunset. The weather is

always perfect here this time of night.

CHLOE

Seems like you have a lot of

good 'Dad' memories from L.A.

RACHEL

I do. My dad was always such a good person, you know?

He treated me like his little princess, like I was the only

little girl in the world. We did everything together.

CHLOE

Do you forgive him?

Rachel sighs.

RACHEL

Maybe? I mean, no, I could never forgive him but...

Dad back then is a different person from

Dad now. Polar opposites, really.

Chloe stays silent.

RACHEL (CONT'D)

Sometimes I wonder if I'd change everything if I had the option.

If I could jump back to my childhood, would I warn him?

About what he becomes? About who he becomes?

Sometimes I think I would, but... I wouldn't. Because

then we wouldn't be here. We wouldn't be together.

And I don't know if that's a life I'd want to live.

CHLOE

That was kinda cute, Rach'.

Rachel smirks. Silence for a beat.

CHLOE (CONT'D)

That was really mature, what you said about your Dad. Kinda wise, too.

RACHEL

The Rachel Amber wisdom has shone its light on you, young Chloe.

Chloe can't help but laugh.

CHLOE

Seriously. Things are... different now, aren't they?

RACHEL

We had to grow up eventually, Chlo'.

CHLOE

It just feels so sudden, you know? A few days ago it

felt like we were queens of the world and now it

feels like we're nothing. Nobody. The world revolved around us.

RACHEL

And now it doesn't.

CHLOE

Right. Now it doesn't.

RACHEL

You gonna miss it?

CHLOE

Yeah. I think so. A little bit, at least.

RACHEL

Me too.

Rachel grabs Chloe's hand, pulls her a bit.

RACHEL (CONT'D)

Come on, hurry up.

You wanna see the sunset, don't you?

Chloe smiles. They rush through the crowds, towards the pier.

* * *

INT. CAULFIELD HOUSE - DINING ROOM - EARLY EVENING

Max and Ryan emerge from the staircase, suitcases in hand.

Vanessa sits at the computer, prints boarding passes for her daughter.

RYAN

I'm proud of you, Maxine.

MAX

Thanks, Dad.

RYAN

What you're doing for Chloe is the right thing. I know you two aren't close anymore but friends and family always come first.

MAX

What if she doesn't come back?

RYAN

She will.

MAX

But what if she doesn't? What if she chooses Rachel over me? Over Arcadia, her parents? What do I even say to her?

RYAN

You'll know the right things to say when you find her. You're better with people than you think.

MAX

I don't know.

Vanessa approaches, hands the printed passes to Max.

VANESSA

Are you sure about this, honey?

MAX

Yes. I think so.

Max takes her phone out. Nothing from Chloe.

She calls Joyce.

JOYCE (V.O.)

Hello, Max. I'm happy to hear from you again.

MAX

(over phone)

Hi, Joyce. We're leaving for the airport

soon, just thought I'd keep you in the know.

JOYCE (V.O.)

You're an angel, Max. You always have been.

MAX

(over phone)

Thank you, that means a lot. I just want to bring her

home. We can come up with a plan when I get to Arcadia.

JOYCE (V.O.)

I'll start making the place presentable.

I can't thank you enough for this. Really.

MAX

(over phone)

I'm bringing Chloe home to Arcadia. I promise.

Max hangs up. Her smile fades.

* * *

INT. PRICE HOUSE - CHLOE'S ROOM - EARLY EVENING

Joyce and David step into Chloe's filthy room, hands locked.

They separate, Joyce starts cleaning. David stands still at the door.

DAVID

Are you sure this is a good idea, Joyce?

How do we know we can trust this "Max"?

JOYCE

Excuse me?

DAVID

How is this little girl from Seattle going to

save Chloe, huh? How could she do any better than us?

JOYCE

Max and Chloe were inseparable, David. But when

William passed and he family moved, it sent Chloe into a spiral.

DAVID

Chloe isn't one to forgive, Joyce.

You know this just as well as I do.

JOYCE

You think I don't know my own daughter?

She still hasn't forgiven me for William.

She hasn't even forgiven William.

DAVID

Joyce-

JOYCE

-No, David. Stop. Max, William and Rachel

were the only people that could ever get through to her.

Joyce exhales deeply.

JOYCE (CONT'D)

We have to trust Max, honey. We have to.

She's the only chance we

have at seeing our daughter again.

David sighs. Steps further into Chloe's room and helps Joyce clean.

* * *

EXT. SANTA MONICA PIER - SUNSET

Rachel and Chloe reach the end of the pier. They find a bench near the edge and take a seat.

Rachel wraps her arm around Chloe. Chloe leans her head on Rachel's shoulder.

CHLOE

Sorry I've been so weird today.

RACHEL

There's nothing to apologize for.

CHLOE

I want to tell you what's up but...

but I don't know how.

RACHEL

It's okay, Chlo'. I get it.

CHLOE

I talked to Max. Well, we texted.

The first time in years.

RACHEL

I know.

CHLOE

What?

RACHEL

You had your messages open when

you gave me your phone. I saw.

CHLOE

I'm sorry, Rach'. I just-

(beat)

I don't know why I texted

her. I know I fucked up, but-

RACHEL

Chloe. It's okay. I understand.

CHLOE

Really?

RACHEL

I know how much she meant to you before we met, and

I know how much she fucked you up when she left. I'm not mad at you.

Not at all. I'm proud of you for reaching out. And I know it was hard.

I know how badly you want to forgive her, despite everything.

You're making peace with your past, Chloe, and that would

never make me mad. Never. It's something I know I couldn't do.

Chloe fights back tears.

CHLOE

You're amazing, Rach'.

I feel like I don't say that enough.

RACHEL

I learned it from you, Chlo'.

CHLOE

I never expected her to text back. I expected her

to ignore me like she's done since she left.

But when she texted me back, I-

RACHEL

-You didn't know how to feel.

CHLOE

Right. I'm so happy she did, but I'm still so fucking

pissed at her for leaving. Years of radio silence.

She promised we'd keep in touch and she didn't.

RACHEL

You need to let yourself feel shit, Chlo'.

Its okay to be sad, mad, happy or any combination.

Its okay to be you.

CHLOE

Thanks. I just feel guilty, you know?  
Like its wrong to feel anything. Like I don't deserve it.

RACHEL

You deserve the world.

CHLOE

You're too good for me.

You always have been.

RACHEL

No, Chloe. I'm not.

A long beat.

The sun continues to set over the Pacific.

RACHEL (CONT'D)

I almost died, you know.

CHLOE

Damon, right? I know. We were so lucky that day.

RACHEL

No. A few months ago.

CHLOE

What?

Chloe lifts her head, worried.

RACHEL

I worked with Mark Jefferson, for a while.

I modeled for him.

CHLOE

Mr. Jefferson? I heard the rumors, but... did you?

RACHEL

No. Never. It was strictly business.

It got dark there, though.

To get the pictures he wanted, he-

Tears roll down Rachel's cheeks.

RACHEL (CONT'D)

He'd drug me. Some shit Nathan'd get him.

I can't even remember half of the shoots.

But I remember one of them - the only one that matters.

Chloe listens. She's angry, but does her best to hold it in.

RACHEL (CONT'D)

I woke up in a ditch one night. Pitch black, at the junkyard.

I opened my eyes and everything was fuzzy. I only saw the flashes

from Jefferson's camera. Nathan was there, too.

With a shovel, backfilling the hole.

CHLOE

Holy shit.

RACHEL

Yeah. That's when I knew he'd

never get me- us- out of Arcadia.

CHLOE

So that's why you did it.

RACHEL

I had a real chance to get us out of there, Chloe.

I thought, maybe if I let him do whatever he needed, he'd get

me a modelling gig in Los Angeles and I'd be

able to take you with me. It was all

bullshit, though, because why wouldn't it be?

CHLOE

What about Frank?

RACHEL

Frank?

CHLOE

Your relationship?

RACHEL

It wasn't what you think it was. We

never did anything. He didn't even want to.

CHLOE

So what was it?

RACHEL

I helped him push drugs for money. Or, I thought it was

for money. He never paid me. He thought we

were something we weren't.

CHLOE

Oh.

Rachel breaks down.

RACHEL

I thought I could get us out of there, Chloe. I thought that

I could free us from Arcadia. But I couldn't.

I couldn't do anything. I thought I had everything under

control but all I did was fuck everything up worse than it already was.

CHLOE

Rachel, come on-

RACHEL

-I almost lost everything. You, my life. Everything.

I tried to step up and be a badass but

I just fucked everything up because I'm a fuck up.

CHLOE

You're not a fuck up, Rach'.

Mistakes don't make you a bad person.

RACHEL

Those weren't mistakes, Chloe. Mistakes are, like, getting

questions wrong on a test or breaking a glass.

Not- not what I did.

CHLOE

You tried to do the right thing for us and it

didn't work out. You're not a fuck up, Rachel. You're human.

Rachel just... cries. That's it. Chloe holds her.

CHLOE (CONT'D)

Come on, Rach'. You're missing the sunset.

Rachel laughs through the tears.

She composes herself, at least a bit.

RACHEL

Chloe?

CHLOE

Yeah?

RACHEL

I love you.

CHLOE

What?

RACHEL

I'm sorry I never said it sooner.

Rachel leans her head on Chloe's shoulder.

RACHEL (CONT'D)

I hope you feel the same way. I really do. But after what I did-

CHLOE

-I love you too. Ever since we first met, when you saved

my ass at the Old Mill. I was always too afraid to say

anything, you know? I always thought, if I said

anything, I'd lose you. But I do, Rach'. I love you.

Chloe and Rachel watch the sunset vividly paint the Los Angeles sky.

Silence, but different from before- this time, it's hopeful. Peaceful. Happy. All the things they've never felt. Until now.

* * *

INT. SEATTLE-TACOMA INTERNATIONAL AIRPORT - NIGHT

Max sits in a seat, alone. Luggage in front of her.

She looks to the nearest gate. It reads:

"FLIGHT DL-117009 TO PDX - NOW BOARDING"

Over the loudspeaker, a FLIGHT ATTENDANT (20s) speaks.

FLIGHT ATTENDENT

Now boarding flight DL-117009 to Portland International Airport.

Please have your boarding passes and identification ready.

Max holds her passport and boarding pass.

She yawns, then smiles.

She's going home.

* * *

INT. PRICE HOUSE - LIVING ROOM - NIGHT

The dark room lit only by the TV.

Joyce, curled up next to David, coffee mug in hand, rests her head on David's shoulder.

Joyce looks at the clock. Its hands read: "1:55 pm".

* * *

INT. FRANK'S RV - NIGHT

Frank sits at his small table, Pompidou lies next to him.

He looks over his ledger.

CLOSE ON: FRANK'S LEDGER

His finger traces a list of unpaid balances.

He stops at the bottom: "CHLOE - $3000".

BACK TO SCENE

He grabs a red pen, circles Chloe's debt.

His expression grows angry as he pets the sleeping Pompidou.

* * *

INT. SANTA MONICA MOTEL - BEDROOM - NIGHT

Rachel lies on the bed, stares at the ceiling.

Chloe, curled up, rests her head on Rachel's chest.

On the nightstand, RACHEL'S PHONE.

Rahcel looks to it, then back to Chloe.

She runs her fingers through Chloe's blue hair, smiles, and closes her eyes.

* * *

INT. DARK ROOM - NIGHT

SNAP! The sound of a camera.

VICTORIA CHASE lies on the white floor, unconscious.

NATHAN PRESCOTT circles her, occasionally pauses to take pictures from various angles.

Across the room, MARK JEFFERSON stands over a laptop.

We get a glimpse at the screen-

CLOSE ON: LAPTOP SCREEN

A red blip labeled "RACHEL'S PHONE" blinks repeatedly on some sort of map.

The bottom right corner reads: "LOS ANGELES, CALIFORNIA".

A string of coordinates below it.

BACK TO SCENE

Jefferson smiles.

 **THE END**


	3. Episode Three: Concrete Jungle

BEYOND THIS ISLE

Season 1, Episode 3

"CONCRETE JUNGLE"

Written by

Robert Lentz

Based on characters from the "Life is Strange" series of video

games created and developed by DONTNOD Entertainment and Deck

Nine, copyright Square Enix.

rob_lentz on twitter, instagram, AO3

roblentz on FFnet

writtenbyroblentz on tumblr (updates on following episodes will be here)

robcotrproductions on reddit

another huge thank you to MagmaCombLatte for being a wonderful beta! read her PriceField story, "That night, that year of now done darkness" on AO3!

* * *

.

* * *

 **TEASER**

EXT. LOS ANGELES CITY LIMITS - MORNING

A filthy pick-up truck stagnates in a heap of traffic.

* * *

INT. CHLOE'S TRUCK - MORNING

RACHEL AMBER, hands on the wheel, lifelessly stares ahead.

CHLOE PRICE, feet on the dash, does the same.

CHLOE

Los-fucking-Angeles.

RACHEL

They couldn't just let us out easy.

Chloe sighs. Rolls down the window, lights a cigarette.

CHLOE

Where to next, Rach'? You're the captain now.

RACHEL

 _Just_ the captain?

CHLOE

Right. Where to next, _Queen_ Rachel?

Rachel smirks, looks to Chloe.

RACHEL

Wherever we want.

* * *

EXT. BILLBOARD PLATFORM - DAY

Chloe emerges from the ladder, spray-paint can in hand.

A few vigorous shakes later, the street artist gets to work.

Quickly after, the billboard's message now reads:

"BLACK **HELL** ACADEMY - THE FUTURE NEEDS **NUCLEAR ANNIHILATION** "

* * *

INT. GREEK ROW PARTY - PHOENIX - NIGHT

Arizona State University flags blanket the walls.

Empty booze bottles from every category litter the floor.

Rachel stands on a table, Arizona State pennant draped over her shoulder, vodka bottle in hand.

Chloe stands in front of a huge crowd of FRAT GUYS (20s).

They all drunkenly cheer and scream.

RACHEL

Arizona State, your new Queen has arrived!

FRAT GUYS

(chanting)

A-S-U! A-S-U! A-S-U!...

Rachel lifts the handle of vodka to her lips and chugs it.

THE CROWD GOES WILD!

Rachel removes the bottle from her lips.

Chloe jumps on the table, replaces the handle with a kiss.

THE CROWD GOES WILDER!

* * *

EXT. WALTER WHITE'S HOUSE - ALBUQUERQUE - DAY

The girls stand in front of the gated driveway.

Rachel's arm rests around Chloe's back, cigarette lies between Chloe's fingers.

A WOMAN (30s) holds WILLIAM'S POLAROID CAMERA.

3... 2... 1...

SNAP!

A photo prints from the camera.

Both camera and picture end up back in Chloe's hands.

CHLOE

Nice.

RACHEL

A cigarette, huh? Was kind of

expecting a meth pipe, not gonna lie.

CHLOE

You know me too well, Rachel Amber.

Rachel smiles. They walk away.

A whole PIZZA PIE lies on the suburban house's roof.

* * *

INT. COWBOY & WESTERN HERITAGE MUSEUM - OKLAHOMA CITY - DAY

Wild West dioramas full of life-sized Cowboy and Native American statues decorate the wide open museum space.

Rachel suddenly lassos an unsuspecting Chloe, drags her through the halls.

Chloe isn't pleased. Rachel couldn't be happier.

* * *

INT. ST. LOUIS ZOO - ST. LOUIS - DAY

LITTLE KIDS (10) run wildly through the claustrophobic room.

Their PARENTS (20s-50s) sit on the benches in a state of emotional agony. How'd their lives lead to _this?_

Chloe and Rachel stand at a shallow pool. Too many STINGRAYS to count lie on the translucent floor.

Rachel pets one of the rays. Chloe watches uneasily.

RACHEL

You try.

Chloe

What?

RACHEL

Come on, just pet it. They don't bite.

CHLOE

Um, does Steve Irwin ring any bells?

RACHEL

The crocodile hunter?

CHLOE

Killed by a stingray.

RACHEL

Not a crocodile?

(beat)

Come on, just one pet.

CHLOE

No way.

Rachel grabs Chloe's hand, guides it closer and closer...

CHLOE (CONT'D)

Rachel. Rachel, no. Please?

Rachel's hand holds Chloe's and they pet one together.

Chloe jerks her hand back.

CHLOE (CONT'D)

Okay, gross. Slimy and... gross. Let's leave now.

Rachel laughs. Chloe sulks.

RACHEL

Alright, Chlo', alright. Let's get you to safety.

* * *

EXT. LOVE LOCK BRIDGE - FORT WAYNE - EVENING

Lanterns illuminate the peaceful bridge. Very few PADLOCKS clipped around the barred-railings.

Rachel holds their own padlock. Chloe hands her a sharpie.

CLOSE ON: PADLOCK

Rachel writes:

'RACHEL AMBER & CHLOE PRICE'

'3 4EVER'

BACK TO SCENE

She clips the lock around the bannister.

The girls hold a long, romantic hug.

* * *

EXT. HOBOKEN - NIGHT

That same postcard-photo worthy view of New York City's breathtaking skyline.

Hands intertwined, Chloe and Rachel focus on that skyline and what it represents -

A fresh start. A new life. The next chapter.

 **END TEASER**

* * *

 **.**

* * *

 **ACT ONE**

EXT. HOBOKEN - NIGHT

A direct continuation of the previous scene.

CHLOE

I can't believe we're here.

RACHEL

It's almost surreal, isn't it?

CHLOE

Yeah. For sure.

(beat)

What now?

Rachel

Well-

Rachel heads back to the truck. Chloe follows.

RACHEL (CONT'D)

-I put in some good words with that landlord guy.

No promises, but he's willing to meet tomorrow.

CHLOE

So a hotel until then?

RACHEL

Could be worse.

CHLOE

I know. I'm just sick of hotels and motels and all that shit.

RACHEL

Oh, god. Remember that day on the way to Albuquerque?

CHLOE

Fuck, don't remind me.

RACHEL

Too late!

CHLOE

For someone that kept bugging me to let you drive...

RACHEL

Hey, we both had killer hangovers that day.

Yours was worse than mine.

Chloe shrugs.

Chloe

What can I say, you could handle your liquor better than I can.

RACHEL

I'll remember that, Chlo'.

The girls hop in the truck.

* * *

EXT. MANHATTAN - NEW YORK - SUNRISE

Chloe's truck cinematically emerges from the Holland Tunnel.

The sunset paints the incredible skyscrapers with hues of yellow, orange, pink and more.

* * *

INT. CHLOE'S TRUCK - SAME

Rachel and Chloe can barely even keep their eyes on the road.

Instead, they lean over the dash and look to the sky - mesmerized by the size of the buildings, the scope of the city.

They've never seen anything quite like this.

* * *

INT. PRICE HOUSE - DINING ROOM - MORNING

MAX CAULFIELD sits at the dining room table, empty plate and fork and knife neatly set in front of her.

JOYCE PRICE moseys on over, frying pan in hand, beautifully transitions sunny side up eggs to each plate.

MAX

Thank you, Joyce.

JOYCE

Eggs and bacon are tradition

here, Max. Always have been.

MAX

These past few months have been so nostalgic.

Sometimes it feels like nothing's changed.

JOYCE

It's great having you around

again. If only Chloe was here, too.

MAX

The trail's been cold since Los Angeles but I made

you a promise, I haven't forgotten. I'll bring her home.

JOYCE

I know you will, Max. I trust you.

Max looks to the living room. The red wine stain still lingers on the old carpet.

She zones out-

* * *

FLASHBACK TO:

* * *

INT. PRICE HOUSE - LIVING ROOM - DAY

SUPER: "Five Years Earlier"

YOUNG CHLOE (14) and YOUNG MAX (13) sit together on the carpet, couch pushed out.

Young Chloe holds an open bottle of red wine.

Present-day Max watches from the dining room. She sees them, but they can't see her.

YOUNG MAX

Are you sure about this?

YOUNG CHLOE

What, getting cold feet?

YOUNG MAX

No, it's just- won't your parents notice?

YOUNG CHLOE

Just a few sips. Plus, whatever we drink, we'll

replace with water. They'll never know.

YOUNG MAX

I don't know, Chloe.

YOUNG CHLOE

Come on, Max! Your my first mate, this is what pirates do!

Young Chloe takes a swig of ye olde wine bottle. Disgust blankets her face, for a moment, then-

She holds the bottle out to Young Max.

Present-day Max watches nostalgically.

YOUNG CHLOE (CONT'D)

Drink up, mate. We've got a long way to

shore, best we get our drink on before it's too late.

Young Max grabs the bottle.

YOUNG MAX

Aye aye, Cap'n.

She takes an identical swig - coughs it up instantly.

YOUNG MAX (CONT'D)

Oh my god, this is gross!

Young Max passes the bottle back to Young Chloe without looking. A fatal mistake...

The bottle falls to the floor, soaks the carpet red.

Young Max and Young Chloe watch in horror.

Present-day Max can't help but smile.

YOUNG CHLOE

Shit, Max! Get some towels!

YOUNG MAX

On it!

Young Max gets up and runs.

* * *

BACK TO PRESENT

* * *

INT. PRICE HOUSE - DINING ROOM - MORNING

DAVID MADSEN makes his way into the dining room, finishes buckling his belt as he takes a seat.

DAVID

Morning, Joyce. Max.

JOYCE

Morning.

DAVID

Wakey wakey, eggs 'n' bakey?

JOYCE

The most important meal of the day.

She serves him up some eggs 'n' bakey.

David turns to Max. Looks like she's in another dimension.

DAVID

Not a morning person, 'eh Max?

Max snaps back to reality.

MAX

Sorry, what?

DAVID

Not a morning person?

MAX

Not really.

Joyce takes a seat.

JOYCE

She used to be.

MAX

Not so much anymore.

JOYCE

Whatcha thinking about?

MAX

Just... old times. When we spilled that wine on the carpet.

JOYCE

Gosh, I was so mad at you two.

MAX

I remember.

JOYCE

William tried to be, but he could

never stay mad at you two for long.

MAX

He seemed mad.

JOYCE

Don't tell Chloe, but he wasn't. Not one bit. He

felt so bad for acting that way later on.

MAX

Don't worry, I won't tell.

JOYCE

William was such a great father to Chloe.

And to you, I suppose. Water could be just as thick as blood.

MAX

I miss him too, Joyce.

Awkward silence. David especially.

JOYCE

Working late tonight, David?

DAVID

Same shit, different day. Speaking of-

He quickly finishes off his eggs and gets up.

DAVID (CONT'D)

Gotta head out. You coming, Max?

MAX

Oh, no. Not today.

DAVID

Let me know when you want to tag along. I could get

you there, but you need to be up and alert this early, soldier.

MAX

I will.

DAVID

At ease.

David kisses Joyce on the cheek.

JOYCE

Love you.

DAVID

Love you too.

He fastens his security hat and leaves the house.

Joyce sighs and looks to Max.

JOYCE

I always feel bad about mentioning William around David.

It's hard on him, too. Like an unrealistic standard he can't

live up to. But it's been tough to not think

about it now that you're around. Its not your

fault, just... it brings me back, is all.

Max doesn't know what to say.

JOYCE (CONT'D)

Oh, I... I looked everywhere for William's

old Polaroid, like you asked. No luck.

MAX

Thank you, Joyce.

JOYCE

I did find some tools in David's garage when Chloe-

(beat)

-They're still in there. You could fix up your old one, if you want.

MAX

I think I will. Thanks again. For everything.

Max helps Joyce bring the empty dishes to the kitchen.

* * *

EXT. APARTMENT BUILDING - MORNING

Chloe's truck pulls into a vacant spot out front. Come to think of it, a lot of spots are vacant...

The building looks like something out of a horror movie. Dilapidated, reclaimed by nature.

Chloe and Rachel cautiously get out of the truck, head towards the building.

Chloe

You always manage to find the shadiest places, don't you?

Rachel

It didn't look so bad in the pictures.

* * *

INT. APARTMENT BUILDING - LOBBY - MORNING

The girls step into the lobby. Stereotypical interior design - ugly ass furniture, seedy tenants, an odd stench.

They approach the front desk. ANTONIO CASTORO (19) mans it, alone. You could see the thick, New York accent in his face.

ANTONIO

Good fuckin' mornin' ladies, the name's

Castoro. Antonio Castoro. How can I help yous?

RACHEL

Yeah. Hi. We have an appointment with a

leasing manager? Should be under Rachel Amber?

ANTONIO

Oh, Miss Amber! I remember you from

the phone call. How the fuck are ya?

RACHEL

Um, good? I guess.

ANTONIO

What's the matter?

RACHEL

Uh, nothing. Right, Chlo'?

CHLOE

Right. We're totally fuckin' cool, dude.

RACHEL

Totally fuckin' cool.

ANTONIO

Right on. I'll get the manager for ya.

Antonio steps out.

Chloe and Rachel hold back laughter.

RACHEL

It's like the Godfather in real life.

CHLOE

"I'm gonna make these girls an offer they can't refuse..."

That pushes Rachel over the edge. Belly laughs abound.

Antonio returns. Rachel quickly pulls herself together.

ANTONIO

What's so funny?

RACHEL

Nothing. You, uh, you remind me of someone from back home.

ANTONIO

Ain't nobody in the world like Antonio Castoro.

CHLOE

That's for sure.

(beat)

Is the lease-guy coming, or...?

ANTONIO

Lease guy?

CHLOE

Our appointment?

ANTONIO

Oh, right. Down the hall to the left.

RACHEL

Thanks.

The girls leave-

* * *

INT. APARTMENT BUILDING - EMPLOYEE'S HALLWAY - CONTINUOUS

-Head down the hallway.

They stop just outside the landlord's door.

CHLOE

You sure about this place?

RACHEL

It's a little rough around the edges, I'll give you that.

CHLOE

So are we.

RACHEL

Exactly. We fit right in.

CHLOE

You have a plan, right? Apparently we

need, like, credit to get an apartment. Legal stuff.

RACHEL

I'll handle it.

CHLOE

You brought legal documents with us? Good thinking.

RACHEL

I never said that. All I said was that I'll handle it.

Chloe's uneasy. Rachel notices.

RACHEL (CONT'D)

Remember the day after we cut class for the first time? Wells' office?

CHLOE

Sure, yeah.

RACHEL

How I covered for you? Convinced him you were innocent?

CHLOE

The 'Rachel Amber charm' at work.

RACHEL

Hasn't failed us yet.

CHLOE

I trust you. Completely.

RACHEL

Wait here. This shouldn't take long.

Chloe nods. Rachel hugs her, then steps inside.

* * *

INT. FRANK'S RV - MORNING

FRANK BOWERS sits at the table, anxious.

Open ledger in front of him, Pompidou at his side.

FRANK

Fuckin' Price. What do I do, Pompidou?

Pompidou barks. Frank sighs.

FRANK (CONT'D)

I can't believe I was stupid enough to lend

her money. Jesus Christ. Maybe I'm losing my edge.

He closes the ledger. Slips it in his back pocket, gets up, paces the RV slowly.

FRANK (CONT'D)

What do I do? God damn it!

He rolls up a fat blunt. Lights it, takes a hit.

Through the smoke, he spots a COMBAT KNIFE sticking out of the counter.

Contemplates for a second, then-

FRANK (CONT'D)

Good idea, Pompidou. Good boy.

* * *

INT. PRICE HOUSE - CHLOE'S ROOM - MORNING

Max sits silently at the computer desk. On it, her old camera. Still broken.

She takes out a tiny tool and gets to work.

MAX

I can fix this. I can fix everything.

She gets to work.

* * *

INT. APARTMENT BUILDING - LANDLORD'S OFFICE - MORNING

ZACH LORIA (40s) sits behind a fancy desk. Well, fancy compared to everything else.

Rachel sits across from him.

ZACH

Look, you seem like a nice enough girl. But I just can't let you live here.

I'm sorry, I really am. You don't have any credit, you have zero

legal documents of any kind and you don't

have an adult to sign the lease. It's out of my hands.

RACHEL

I understand, Mr. Loria, and I'm sorry to put you in this predicament.

My girlfriend and I, we ran away from home. We fell in love, you see and

our parents... they didn't like that. We come from a very conservative

town and we didn't feel safe there. There was no LGBTQ+ community

in Arcadia. Nothing. All we had was each other.

ZACH

I'm sorry to hear that.

RACHEL

Thank you. We've been on the run for so long now. I can barely

even remember when we left. I'd be lying if I said we haven't

had tough times. Being on the road... it's a hard life. It took some getting

used to, but we managed. Chloe and I, we can depend on each other.

I trust her and she trusts me. We just need one break, Mr. Loria. Just one.

Please. We can't live on the streets. Never again.

Zach sighs.

ZACH

Alright. Against my better judgement, I'll help you guys out.

I'm a liberal man, and I sympathize with your struggles.

RACHEL

Thank you.

ZACH

I didn't finish. Since you can't produce any legal documents

aside from your ID's, we'll have to do things a bit differently.

RACHEL

Of course. Whatever it takes.

ZACH

Normally, a deposit is only two hundred

dollars: half for the room, half for security.

RACHEL

Okay.

ZACH

In your case, due to the increased risk, you'll have to pay double.

Four hundred up front. And you'll both need to maintain stable jobs.

RACHEL

Jobs?

ZACH

Yes. If you can prove to me that you two are

responsible young adults, you're welcome to live here.

RACHEL

We can do that.

Rachel hands him four hundred dollars, cash. The last of the cash they have left.

Zach counts it, grabs a key from under the desk, hands it to Rachel.

ZACH

Welcome home, Ms. Amber.

* * *

INT. APARTMENT BUILDING - EMPLOYEE'S HALLWAY - MOMENTS LATER

Chloe and Antonio stand together.

ANTONIO

You gotta try the Italian place around the

corner. Delicious baked ziti, seriously.

CHLOE

Is it price-y? No pun intended.

ANTONIO

It's not so bad. If you're lookin' for

cheap, try the food stands on the streets.

CHLOE

Really?

ANTONIO

They look skeevy, and they are, but they ain't so bad.

Street shish kebobs are my Achilles heel.

CHLOE

What are they made of?

ANTONIO

Beef, I think. Rumor has it that they use rat meat.

Chloe stank faces pretty hard. _Rat meat?_

CHLOE

Rat meat?

ANTONIO

Don't know for sure. If it's rat meat, then rats taste damn good.

Rachel emerges from Zach's office. Carefully closes the door. She breathes a sigh of relief.

CHLOE

How'd it go?

Rachel hugs her tightly.

RACHEL

It took some convincing, but we're in!

CHLOE

Holy shit, that's great!

RACHEL

I'll tell you more about it later.

ANTONIO

Contratu-fuckin'-lations ladies!

Chloe and Rachel kiss. Antonio slowly backs out of scene.

The girls pull apart.

RACHEL

Let's get settled.

CHLOE

I'm proud of you, Rach'.

Rachel grins.

RACHEL

Did I ever tell you how much I love you?

CHLOE

Not as much as I love you.

They hug again.

* * *

EXT. BLACKWELL ACADEMY - DAY

The brick institution stands tall at the edge of the Grand Fir forest.

The courtyard is barren - class is in session.

David stands guard at the front door.

MARK JEFFERSON approaches.

DAVID

Back from lunch?

Mr. JEFFERSON

Indeed I am. I forgot just how good the Two Whales is.

DAVID

The Two Whales? My wife works there.

Mr. JEFFERSON

Send her my regards.

DAVID

Will do.

Beat.

Mr. JEFFERSON

I... I heard about Chloe's disappearance. Rachel's, too. I'm sorry.

DAVID

You have?

Mr. JEFFERSON

Students talk. I just want you to know that

Blackwell's staff and myself are pulling for their safe return.

DAVID

Thank you, Jefferson. I appreciate that.

Mr. JEFFERSON

Have you heard anything from them? Maybe where they went, or why?

DAVID

I'm not at liberty to disclose that.

Mr. JEFFERSON

Of course, I understand. Rachel was one of the brightest stars here at Blackwell

and, from what she's told me, Chloe had the potential

to do truly great things, too. I hope for their safe return.

David just... looks at Jefferson. It's hard to tell what's going on in that head of his.

Mr. JEFFERSON (CONT'D)

I better get going. I have a class this period.

I'll see you around, Mr. Madsen. Good luck to you.

Jefferson starts to head into Blackwell, until-

DAVID

Mr. Jefferson?

MR. JEFFERSON

Yes?

DAVID

A friend of Chloe's is staying with us for a short while.

A photographer. Do you think she could sit in on one of your classes?

Mr. JEFFERSON

Of course. I'd never bar a future photographer

from getting formal education. Would Thursday work?

DAVID

Yes, I'll see to it. Thank you.

Jefferson heads inside.

David's gaze lingers on him, for a moment.

Then, back to campus.

* * *

INT. STUDIO APARTMENT - DAY

Chloe and Rachel bring the last of their luggage into the new apartment, start to unpack and get settled.

The place is already furnished -super basic and not _totally_ clean, but it'll get the job done.

CHLOE

Don't you think that's a bit fucked, Rach'?

RACHEL

 _Maybe_ leaning on the LGBTQ+ thing was a bit

much, I'll give you that. But it worked, didn't it?

CHLOE

It just leaves a bad taste in my mouth.

RACHEL

Like those rat meat shish kebabs?

CHLOE

Maybe not _that_ bad.

RACHEL

Look, it rubs me the wrong way too, okay? But I'd rather embellish a

bit and get an apartment than tell the truth and live on the streets.

CHLOE

I'm not saying I'd rather live on the streets.

Just... let's try to tell the truth from now on. Please?

RACHEL

Do my ears deceive me or is Chloe Price walking the straight and narrow?

CHLOE

Whatever.

RACHEL

I think you mean-

(mocking)

-"Thanks, Rachel."

Chloe sighs.

CHLOE

Yeah, right. Thanks, Rachel. For the apartment.

RACHEL

Close call, Chlo'. A few more minutes without a

'thank you' and I would've kicked you to the corner.

CHLOE

I don't really see myself as a 'corner' type of gal'.

RACHEL

You seem more like a 'Rachel's girlfriend' type of gal'.

CHLOE

Is that so?

RACHEL

Why don't we find out?

"THE PARTY & THE AFTER PARTY" by THE WEEKND plays over the speakers. Rachel tosses her phone aside.

Rachel lightly pushes Chloe to the mattress. Chloe falls backwards.

Chloe lifts her shirt over her head. Rachel follows suit.

Chloe starts to unbutton her jeans, but Rachel stops her-

RACHEL (CONT'D)

Not yet.

Chloe sits up, smirks, unbuttons Rachel's instead.

After a bit of a struggle, Rachel's finally freed from her rockstar skinnies.

Rachel straddles Chloe, then Chloe flips positions - it's her turn to be the dominant one.

Rachel's hesitant, at first... but the feeling of Chloe's kisses on her neck snaps her out of it.

Those kisses trail lower and lower down Rachel's body...

 **END ACT ONE**

* * *

 **.**

* * *

 **ACT TWO**

INT. PRICE HOUSE - CHLOE'S ROOM - DAY

Max sits crisscross-applesauce in the middle of Chloe's room.

A totally repaired Polaroid camera lies next to an open box of photos. Even more pictures sit in a messy pile.

Max holds one of them in her hand. Focuses on it, for a moment.

CLOSE ON: PHOTO

Of Young Chloe and Young Max holding BONGO THE CAT.

A pirate hat haphazardly hangs off Bongo's head.

Bongo's not amused in the slightest.

BACK TO SCENE

Max smiles.

* * *

FLASHBACK TO:

* * *

INT. PRICE HOUSE - CHLOE'S ROOM - DAY

Max watches as Young Chloe, Young Max and Bongo get themselves in a Wild West standoff.

The three of them share glances. Back and forth and back and forth and back and forth...

YOUNG MAX

Who's gonna move first?

Bongo meows lazily.

YOUNG CHLOE

Bongo?

YOUNG MAX

We should've known.

Chloe glances to Max, then to the PIRATE HAT on the bed.

Max nods.

YOUNG CHLOE

Three... two... one...

Max dives to the bed, grabs the hat and tosses it to Chloe.

At the same time, Chloe grabs Bongo and picks him up.

YOUNG CHLOE (CONT'D)

Hurry, Max! The camera!

YOUNG MAX

Got it!

Max does as told, sets a timer, then rejoins the group.

They struggle to get the tiny hat on Bongo's slightly tinier head.

SNAP!

A photo prints.

* * *

BACK TO SCENE

* * *

INT. PRICE HOUSE - CHLOE'S ROOM - DAY

Max does one of those "longing for the past" sighs and tosses the picture aside-

-Then grabs the next one in line.

* * *

EXT. NEW YORK CITY - DAY

Rachel walks down the busy sidewalks with purpose- navigates the crowds like a true New Yorker.

She passes a deli, a high-end clothing store, a fruit market, another deli, ANOTHER deli, a pizza place and a coffee shop.

 _Wait a minute..._

She backpedals. HELP WANTED sign in the coffee shop's window.

RACHEL

This could work.

* * *

EXT. NEW YORK CITY - DAY

Chloe walks down the street with less grace than Rachel.

Bumps into a MAN (50s).

MAN

Ayy, I'm walkin' ova' hea'! Watch it, lady!

She brushes him off and keeps moving.

Soon after, a HOMELESS MAN (?) steps in front of her.

HOMELESS MAN

Spare a few bucks, ma'am?

CHLOE

Sorry, buddy.

She tries to push past. He won't budge.

HOMELESS MAN

We ain't buddies. Don't be stingy, just a dollar.

CHLOE

I'm broke, too. Leave me alone.

HOMELESS MAN

You ain't broke.

CHLOE

Excuse me?

HOMELESS MAN

I saw you and that girlie movin' in to a new place earlier.

CHLOE

You... you were watching us? What the fuck?

HOMELESS MAN

I got a lotta time on my hands. What's the big deal?

CHLOE

Step back before I get angry.

He sees a fire light up in Chloe's eyes.

HOMELESS MAN

Fine. I hope you feel good about yourself. Real generous.

Chloe moves on.

CHLOE

(under breath)

Fuck me.

She heads back, gives the guy a couple bucks.

CHLOE (CONT'D)

Buy drugs with it and I'll kick your ass.

* * *

INT. COFFAHOLICS ANONYMOUS - MANAGER'S OFFICE - DAY

Rachel sits across from JANICE BARNES (25), the manager.

RACHEL

My girlfriend has blue hair, too.

JANICE

She has good taste. I assume you're here for the job.

RACHEL

I am.

JANICE

Good to hear. You certainly fit the bill.

Attractive and charismatic. I like it.

RACHEL

Thank you. That's very sweet.

JANICE

Do you have a resumé that you can give me now?

Or can you bring me one later?

RACHEL

I actually don't have one.

JANICE

At all?

RACHEL

At all.

JANICE

You came to apply for a job without a resumé?

RACHEL

I know it looks bad. Trust me, I do. I should've come prepared.

You see, Ms. Barnes, I actually just moved here this morning. My girlfriend and I, we've

been on the road from the Oregon coast for a month. The trip has... drained us financially.

JANICE

Look, Ms.-

RACHEL

-Amber. Rachel Amber.

JANICE

There's no need to defend yourself, though I am pleasantly surprised at

your honesty. Look, we need a barista. You're pretty, smart, good

with people and that's who we're looking for.

RACHEL

Wait. Really?

JANICE

Yeah, really. This is an easygoing place, for the most part.

I mean, the Starbucks down the street has

been kicking our ass since it opened but other than that...

RACHEL

I got the job?

Janice smiles widely.

JANICE

Rachel Amber, welcome to the Coffaholics Anonymous team.

Training on Thursday.

She extends her hand. Rachel, completely dumbfounded but super relieved, shakes it.

JANICE (CONT'D)

If I see you at that god damn Starbucks you're fired on the spot.

* * *

INT. PIZZA SHOP - DAY

Chloe grabs a rare empty table in the tiny little shop.

Shortly after, Rachel joins her.

RACHEL

Guess who just got a job?

CHLOE

Fuck, already?

RACHEL

You're speaking to the brand new barista at Coffaholics Anonymous.

CHLOE

So I could expect gourmet drinks every morning then?

RACHEL

Only if you pay me by the hour.

CHLOE

Not happening.

(beat)

My turn! Guess who got in a fight with a homeless man?

RACHEL

Fuck, already?

CHLOE

Hey, it took a long time to build up my bad-girl rep in Arcadia. Gotta start early.

RACHEL

I _do_ love that about you.

CHLOE

I know. With the way you were moaning this morning...

RACHEL

Oh, please. I used to have to cover your face with a pillow at my house.

CHLOE

All I'm saying is that the neighbors got to know you _really_ well this morning.

RACHEL

And they'll get to know you even better tonight.

Chloe's cheeks redden.

CHLOE

I'll hold you to it.

RACHEL

"If I said you had a nice body, would you hold it against me?"

Chloe looks confused for a moment, like the gears in her head need a second to start tuning. Then-

CHLOE

Fuck off, Rachel.

(beat)

I'll get us some grub. Plain fine?

RACHEL

Works for me.

* * *

EXT. OLD MILL RUINS - DAY

A wooden cross sticks out of the scorched soil.

Frank's RV pulls up. Parks.

Soon after, Frank steps out. Brings a lawn chair to the nameless grave.

FRANK

I...

He goes to sit down, but hesitates. Decides to stand.

FRANK (CONT'D)

Fuck. I can't. Not yet.

He turns around and heads back to the RV.

* * *

INT. PIZZA SHOP - DAY

Chloe serves Rachel up a couple slices. Then, takes a seat.

RACHEL

Did you ever think we'd be having New York pizza?

CHLOE

I mean, there _was_ that New York pizza place in Arcadia.

RACHEL

And the New York bagel place.

CHLOE

Fuck, those bagels were nasty.

RACHEL

Pizza was too.

CHLOE

It wasn't that bad.

RACHEL

Yeah, compared to the microwavable shit you ate every night.

CHLOE

Don't knock my eating habits.

The girls simultaneously take a bite.

CHLOE (CONT'D)

Holy shit.

RACHEL

Right?

CHLOE

Reputation earned. Damn.

RACHEL

Beats your Arcadia cardboard?

CHLOE

Over the head with a rusty shovel.

RACHEL

Ouch.

A momentary respite as they chow down for a bit. Then-

RACHEL (CONT'D)

This place is a total culture shock, isn't it?

CHLOE

That's putting it mildly.

RACHEL

Just from the short time we've been here... people's lifestyles

are so different. You could see it in the way they walk, the way

they carry themselves. Not a second wasted, no action without reason.

CHLOE

I've noticed that, too.

RACHEL

Right? The people here live their lives with purpose in a way

that you never saw in Arcadia Bay. Everyone back home just... let things happen.

Life would kick their ass and they'd sulk. But here...

CHLOE

Everyone grabs life by the balls.

RACHEL

Sure. By the balls.

CHLOE

Sounds like you're in love.

RACHEL

I just- I feel like I belong here. Like I've rediscovered

my home. The ambience, the passion... it's magical.

CHLOE

That's great.

RACHEL

What about you?

CHLOE

Me?

RACHEL

What's your take on the city so far?

CHLOE

I don't know. We've only been here for a few hours.

RACHEL

Okay. Then what are your first impressions?

CHLOE

The people here are assholes. It's crowded and humid and the pizza is incredible.

RACHEL

So...?

CHLOE

It's gonna take some getting used to.

RACHEL

I'm here for you, Chlo'. Always.

(beat)

Except right now. I gotta head out. Audition time.

CHLOE

An audition? Already? We just got here.

RACHEL

I've had it lined up for a few weeks.

CHLOE

Break a leg, I guess. Still not crazy about how that sounds.

RACHEL

Keep your rusty shovels away and my legs will be fine.

Rachel leans over the table, kisses Chloe.

RACHEL (CONT'D)

See you later, okay? Try to find a job or something.

CHLOE

I think I'll choose "or something".

(beat)

I love you.

RACHEL

That was kinda cute, Chlo'. I love you, too. Don't get too lonely without me.

CHLOE

No promises.

Rachel heads out. Chloe takes Rachel's unfinished slice and gets to work- it ain't gonna eat itself.

* * *

EXT. BlACKWELL ACADEMY - PARKING LOT - DAY

Jefferson walks hastily to his car. Paranoid, almost.

 _Did he overplay his hand with David?_

He reaches his murdered out Bimmer. A thing of beauty.

Suddenly, NATHAN PRESCOTT approaches.

NATHAN

Mr. Jefferson, wait.

Mr. JEFFERSON

What did I tell you about talking to me on campus?

NATHAN

I know, just... have you heard anything from Rachel yet?

MR. JEFFERSON

Nathan-

NATHAN

-I'm worried about her.

MR. JEFFERSON

I can't talk about this right now.

He looks over his shoulder. David watches the parking lot from campus.

NATHAN

I know about that computer shit you have. Just tell me where she is.

MR. JEFFERSON

Somewhere on the East Coast, Nathan. New Jersey as of last night, okay? I have to go.

Jefferson gets in the car, slams the door.

Nathan knocks on the window. Nothing until-

ERRR!

The car's tires scorch the pavement as it leaves the lot.

Nathan frowns.

* * *

EXT. NEW YORK CITY - DAY

Chloe approaches the apartment building.

A POLICE OFFICER stands next to her truck Looks like he's writing a ticket.

CHLOE

(under breath)

Motherfucker.

(shouting)

Hey!

The police officer looks to Chloe as she jogs to the car.

POLICE OFFICER

Sorry, ma'am. Rules are rules.

CHLOE

Come on, seriously? I was just coming to move it.

POLICE OFFICER

No free passes. Read the signs next time you park.

CHLOE

What signs?

The police officer points to it.

The sign reads:

"NO STANDING

Monday - Friday

7am - 10am

2pm - 7pm"

Chloe sighs.

POLICE OFFICER

You broke the rules, you get in trouble. It's just how it works.

CHLOE

I just moved here this morning.

POLICE OFFICER

Not my problem.

He finishes the ticket, places it under the windshield wipers.

POLICE OFFICER (CONT'D)

Frankly, you're lucky this is the only ticket I'm writing.

CHLOE

Blow me.

POLICE OFFICER

Excuse me?

CHLOE

I've always read about the NYPD being total bullshit. Looks like the news isn't wrong.

POLICE OFFICER

You're walking a tightrope here, punk. Don't make this any worse than it needs to be.

CHLOE

Whatever.

POLICE OFFICER

Have a great day, Miss.

CHLOE

You too.

(under breath)

Asshole.

* * *

EXT. PERFORMING ARTS BUILDING - DAY

It's a small, ugly looking building nestled between a couple even uglier ones.

Banner reads: "AUDITIONS TODAY"

Rachel heads inside.

* * *

INT. PERFORMING ARTS BUILDING

There's a good ten other women waiting around.

Rachel steps to the front desk, RECEPTIONIST behind the counter.

RECEPTIONIST

How may I help you?

RACHEL

Hi. Rachel Amber, scheduled to audition?

He checks the list.

RECEPTIONIST

Go ahead and have a seat. They'll get to you... eventually. I hope.

RACHEL

Thanks? I hope so too.

She takes one of the last empty seats.

Routinely looks at the clock.

4pm, 5:30pm, 7pm...

One woman after another, the place starts clearing.

 _Fuck._

Rachel sighs.

RACHEL (CONT'D)

Jesus Christ.

RECEPTIONIST

He heard your pleas. Your turn, Ms. Amber. Break a leg.

RACHEL

Thank you, Jesus!

She takes a deeeeeeeep breath and heads in.

* * *

EXT. BROOKLYN BRIDGE - EVENING

Constant honking and shouting fills the air.

Traffic's backed up pretty bad. Shocker.

* * *

EXT. UNDER THE BROOKLYN BRIDGE - MOMENTS LATER

Chloe hops out of her truck, looks around.

Homeless people huddle around barrel fires, a decent amount of abandoned cars scattered around. Junkyard memories...

CHLOE

You've done well, old girl. Thanks for everything.

She grabs a tarp from the truck's bed. Makes sure the keys aren't inside.

CHLOE (CONT'D)

We couldn't have made it this far without you.

She tosses the tarp over Ol' Reliable.

CHLOE (CONT'D)

I'll see you soon, girl.

* * *

INT. STUDIO APARTMENT - NIGHT

Chloe lies in bed alone. The apartment is dead silent.

She scrolls through missed calls, texts, etc. Mostly from Joyce and Max, but the odd one from David or James Amber.

She ignores it all.

CHLOE

Whatever.

Suddenly, three KNOCKS.

A CLICK as the doorknob turns.

Rachel bursts into the room, ecstatic.

RACHEL

Guess what?

CHLOE

I'm good at sex?

RACHEL

Yes. Very good. But that's not it.

CHLOE

You love me?

RACHEL

Again, yes. Again, wrong.

CHLOE

You want to go another round?

RACHEL

I'd love to but you do know we're not playing twenty questions, right?

CHLOE

We're not? Had me fooled.

RACHEL

Chloe, seriously. This is important to me.

CHLOE

Alright, alright. Sorry. What's up?

RACHEL

I got the part! You're now talking to Allegra, leading lady of Adam Symkowicz's ' _Pretty Theft'_.

Chloe gets out of bed.

CHLOE

Wow, that's... a last name, for sure. But of course you got the lead, I knew you would.

They hug.

CHLOE (CONT'D)

I'm so proud of you, sunshine.

RACHEL

Sunshine, huh?

CHLOE

Because you brighten my day every time I see you.

RACHEL

That was cheesy as fuck.

(beat)

But also kind of adorable.

CHLOE

But not as adorable as you.

RACHEL

Chloe, is that you? Is everything okay? You seem kind of... mellow. And sweet.

CHLOE

It's been a rough day.

RACHEL

I wish I could've made it better.

CHLOE

Don't blame yourself. It isn't you... it's everything but you.

RACHEL

Doesn't change the fact that I wasn't around for our first day here.

CHLOE

You were moving up in the world. I'd never stop you from following your dreams.

RACHEL

You couldn't. Even if you tried.

Chloe sits back down, sulks in a pool of negative emotions.

RACHEL (CONT'D)

Let me make it up to you.

CHLOE

It's not your fault.

RACHEL

Still. Let me make it up to you.

CHLOE

How?

RACHEL

We'll spend the whole day together tomorrow. From sunrise to sunset: me, you and New York City.

CHLOE

That sounds nice.

RACHEL

Doesn't it? And for tonight-

Rachel takes her shirt off, tosses it at Chloe. Unclasps her bra, stands confidently.

RACHEL (CONT'D)

(seductively)

I owe you for earlier, don't I?

Chloe lies back, gets comfortable.

Rachel gets in bed, too- unbuttons Chloe's jeans and slowly pulls them to her ankles.

Chloe grasps the sheets, eyes closed.

Soft moans escape her lips as Rachel's body presses against her own.

Rachel's left hand sneaks under Chloe's shirt. Her right caresses the punk's body, slowly moving lower and lower...

CHLOE

(moaning softly)

Rachel...

* * *

INT. PRICE HOUSE - CHLOE'S ROOM - NIGHT

A lingering silence fills the air.

Max reaches the last Polaroid... Chloe and Rachel.

She looks back and forth between the two. Sighs.

MAX

I hope I'm not doing this for nothing.

She tosses the photo aside.

A few KNOCKS on the door, then-

DAVID (O.S.)

Max. Can I come in?

MAX

Yes, Mr. Madsen. Sure.

The door creaks open, not fully.

He doesn't step past the door frame.

DAVID

You can call me David, you know. Though I do appreciate the respect. More than I ever got from Chloe.

MAX

She's gone through a lot.

DAVID

Yeah, and how would you know?

Max looks at David, shocked. His gaze drops for a moment.

DAVID (CONT'D)

I didn't mean for it to come out like that. I just-

(beat)

I spoke to Mr. Jefferson about letting you sit in on one of his classes like you asked.

MAX

You did? What did he say?

DAVID

You're in. This Thursday.

MAX

That's... great. That was really nice of you.

DAVID

Just make sure you ask around about my step-daughter. Rachel too, but definitely Chloe.

MAX

I will. She's coming home, David. They both are. You know that, right?

David doesn't say anything.

MAX (CONT'D)

I know things are moving slowly. It's been a month and nothing's changed. I need you to trust me.

DAVID

Yeah.

(beat)

I'll drive you to the junkyard on Thursday, too. They spent a lot of time there, despite my warnings.

MAX

The junkyard?

DAVID

I don't know what's there. Joyce and I... we've never visited. It's not safe there.

MAX

I'll check it out. Whatever I can do to help.

DAVID

I... I appreciate it. Goodnight, Max.

MAX

Goodnight.

He closes the door. The deafening silence returns.

She pulls out her journal, flips through it, to-

CLOSE ON: JOURNAL PAGE

With a Blackwell Academy sticker, a Mark Jefferson headshot and a decent enough camera sketch.

BACK TO SCENE

She looks to the pile of photos. Chloe and Rachel.

Back to the journal, to the photos, to the journal, to the...

She stops. Sighs.

MAX (CONT'D)

Why can't life just be easy?

 **END ACT TWO**

* * *

 **.**

* * *

 **ACT THREE**

INT. STUDIO APARTMENT - MORNING

Chloe groggily stands by the coffee pot.

Rachel steps out of the bathroom, dressed to impress.

RACHEL

Morning, Chloe.

She walks to the "kitchen", stands near Chloe.

Chloe turns to her girlfriend.

CHLOE

Shouldn't you be doing this?

RACHEL

Nope. Sorry.

CHLOE

Can't I catch a few more Z's? I'm exhausted.

RACHEL

Not gonna happen. We've got a lot to do today

and we need as much time as we can get.

CHLOE

What exactly _are_ we doing, anyway? You do know it's raining, right?

Rachel shrugs.

RACHEL

You'll just have to come along and find out.

And rain is just falling water, so no big deal.

CHLOE

Nothing like a 'Rachel Amber mystery'

to start the morning off right.

RACHEL

Mystery is what makes life interesting, Chloe.

CHLOE

Until you realize you're actually dead at the end of it.

RACHEL

Morbid.

CHLOE

I was talking about The Sixth Sense, Rach'.

(beat)

Could you at least give me a hint?

RACHEL

Okay, okay. One hint. Our first destination is

whatever subway station is closest to home.

CHLOE

If Sherlock got clues like this

he would've went out of business.

RACHEL

If Sherlock needed someone else to spoon-feed

him clues he wouldn't have been much of a detective.

CHLOE

Ouch. Point taken.

RACHEL

The Sixth Sense, huh?

CHLOE

What about it?

RACHEL

Nothing. Just surprised you referenced

a movie that isn't Blade Runner.

CHLOE

Fuck off.

Chloe heads to the door.

CHLOE (CONT'D)

Let's get today started, shall we? We're burning daylight.

RACHEL

I think you're forgetting something.

CHLOE

Forgetting what?

RACHEL

Our coffee?

CHLOE

Oh. I figured you could get it. You know, since you're

a barista? You need the practice more than I do.

Rachel just stands there, arms crossed.

Chloe sighs.

CHLOE (CONT'D)

Fine, fuck.

She temper-tantrum stomps her way back to the coffee pot.

* * *

INT. SUBWAY STATION - TURNSTILE LOBBY - MORNING

Chloe and Rachel stand on line at one of those self-order MetroCard kiosks.

CHLOE

Fucking New York and its lines.

RACHEL

One of life's greatest juxtapositions; the fastest moving

city in the world seems to have the most waiting.

CHLOE

Why doesn't everyone just... wait faster?

RACHEL

Calm down there, Einstein. Wouldn't want the CIA on us, would we?

Chloe looks around, spots the turnstiles.

CHLOE

Those things are so low to the ground.

Rachel looks, too.

RACHEL

The turnstiles?

CHLOE

Yeah. What's stopping us from just hopping over?

RACHEL

That's a good question.

CHLOE

I mean, it's so much quicker than waiting. Cheaper, too.

RACHEL

I'm down to try. You know how much I love rebellious Chloe.

They keep looking.

A YOUNG MAN (18-20) slowly steps to the turnstiles. Looks around, paranoid.

Inches closer, then-

Hops over it. Turns around, flips the bird at the inanimate object.

Chloe nods in approval.

YOUNG MAN

(to himself)

I'm so badass. Holy shit. If I was any cooler this

place would be, like, fucking Antarctica or something.

Suddenly, an overweight SECURITY GUARD (40s) shows up.

He sprints to the Young Man, TACKLES HIM TO THE GROUND.

SECURITY GUARD

You're in deep shit now, dirtbag!

The Security Guard handcuffs the Young Man, looks up. His gaze matches Chloe and Rachel's.

The girls break eye contact quickly. They turn back around towards the kiosk.

RACHEL

Wow. Okay. That's what's stopping us.

CHLOE

Yeah. I guess so.

RACHEL

I think I changed my mind.

CHLOE

Me too.

* * *

EXT. CENTRAL PARK - LATE MORNING

Light gray, gloomy clouds hide any semblance of blue sky.

A light drizzle - enough to be a pain in the ass, but nothing more than that.

Chloe and Rachel, hands tied together, stroll aimlessly down a cobblestone pathway.

Tons and tons of boutiques crowd the sides of the soggy walkway. From jewelers to painters, sculpturists to toy makers... there's so much to see and buy.

RACHEL

It almost feels like we've stepped through a portal.

CHLOE

Like, ' _The Lion, The Witch and The Wardrobe'_ or ' _Monsters Inc.'_?

RACHEL

I was thinking more on the romantic comedy side of things.

CHLOE

So like _'Fifty First Dates'_ but with magic instead of sea creatures?

RACHEL

No stingrays in our romantic comedy, Chloe. I promise.

CHLOE

That's reassuring. I was getting worried there for a minute.

RACHEL

We can't put little baby Chloe in danger, can we?

CHLOE

That was one time! Fuck off.

RACHEL

Hey, you see that...?

She points to a jewelry stand.

CHLOE

What about it?

RACHEL

Let's take a look.

CHLOE

Yeah, with what money?

Rachel flashes her debit.

CHLOE (CONT'D)

Can't your dad, like, _Austin Powers_ that shit?

RACHEL

Austin Powers? You sure that's the spy you wanna go with?

CHLOE

You're right. That's more your speed than his.

RACHEL

Thanks, I think?

CHLOE

You are the spy that shagged me.

RACHEL

You're really into the movie references today, aren't you?

CHLOE

What can I say? You bring out the artist

hidden deep within my inner darkness.

RACHEL

I'll keep that in mind.

They approach the jewelry stand.

A JEWELER (mid 60s) sits motionlessly on her little stool. Kind of cute in an, "I support your dream, Grandma," way.

In front of her, an iPad with a card reader. She's pretty high tech for an old lady.

JEWELER

Welcome, ladies, to 'Granny's Jewelry Emporium'.

RACHEL

Thank you, Miss.

Chloe and Rachel browse the selection. There's anything you can imagine: necklaces, bracelets, earrings and more.

Rachel immediately darts to a thick, brown leather bracelet. 'NYC' embroidered on it.

She shows it to Chloe.

RACHEL (CONT'D)

What do you think?

CHLOE

The bracelet?

RACHEL

No, your take on the Grand Unification Theory. Yes, Chloe, the bracelet.

CHLOE

I like it, but don't you already have a bracelet?

RACHEL

The Long Beach one? What about it?

CHLOE

Nothing, it's just- why another one?

RACHEL

It's just- calling out to me, I guess? Like a symbol for

our new home, the same way the old bracelet does for Cali.

CHLOE

Well said. What do you think about-

She holds up a black patterned choker with tiny, almost unnoticeable black gemstones sprinkled throughout.

CHLOE (CONT'D)

-This?

RACHEL

A choker, huh?

CHLOE

What about it?

RACHEL

I've always figured you for a choker kinda 'gal.

CHLOE

Yeah, I think so too-

RACHEL

-Really fits your long neck.

CHLOE

Thanks, Rach'. That was _reaaaaally_ kind.

JEWELER

Will that be all today, ladies?

Rachel looks to Chloe, gets a cute little nod. Like a kid in a candy shop.

RACHEL

All ready.

CHLOE

You sure about this?

RACHEL

I think so. Why?

CHLOE

Using your debit, it just... it doesn't feel right.

RACHEL

You worry too much, Chlo'.

CHLOE

I'm just saying that its a risk we don't really need to take.

RACHEL

Avoiding risks? Who are you and what

have you done with Chloe Price?!

(beat)

You trust me, right?

CHLOE

Of course. Always.

Rachel whips out the debit, hands it to the Jeweler.

She swipes, hands the card back. Transaction complete.

JEWELER

Tell your friends!

CHLOE

We would if we had any.

They walk off.

Rachel easily slips the bracelet on her wrist, but...

Chloe struggles to get the choker around her neck.

RACHEL

See? Everything's cool.

(beat)

You need help with that?

CHLOE

No, no. I got it.

Still struggling.

RACHEL

Clipping is hard for you, isn't it?

CHLOE

I'd say I'm better at the art of unclipping, to be honest.

Rachel does that weird "laugh by breathing out of your nose' thing.

RACHEL

Can't argue with that.

Chloe drops her arms in frustration, choker in hand.

She sighs.

CHLOE

Fine.

RACHEL

Fine what?

CHLOE

You can help.

RACHEL

Is that the tone you usually take with your therapist?

CHLOE

Considering you're the closest

thing to a therapist I have... Yes. Yes it is.

RACHEL

Take it easy there, killer. There's nothing

wrong with asking for help now and again.

Chloe hands her the evil necklace.

Rachel steps behind Chloe - intimately close.

Rachel slowly clips the choker around Chloe's neck.

RACHEL (CONT'D)

And... voila! All done.

Rachel steps back in front.

Whips her phone out, snaps a picture and smiles.

RACHEL (CONT'D)

You look great.

CHLOE

Was the picture necessary?

RACHEL

Yes.

CHLOE

Whatever.

RACHEL

"Thanks for the help, Rach'."

CHLOE

Sure, whatever you say.

They take a seat at the nearest bench.

RACHEL

You warming up to this place yet?

CHLOE

With this humidity? Fast as fuck.

RACHEL

It _is_ really sticky, I'll give you that.

CHLOE

That's what she said.

RACHEL

She'll be saying it a lot more in the near future.

CHLOE

Oh, will she now?

RACHEL

She definitely will.

(beat)

Seriously, though. I know adjusting

has always been kinda hard for you.

CHLOE

Since when?

RACHEL

Um, you take forever to warm up to new people

and experiences? You live in the past more than the present?

CHLOE

Jesus, Rach'.

RACHEL

Just calling it like I see it.

(beat)

I want you to love this place, the same way I do.

CHLOE

I just need... time, okay? Is that too much to ask?

RACHEL

No, not at all. Just- I want to help in any way I can, Chloe. Really.

CHLOE

I can handle this, Rachel.

RACHEL

I know you can.

CHLOE

But I'm glad I have you as a shoulder to lean on.

RACHEL

You always will.

Silence, for a while. Not awkward, though, but loving, and warm. It's nice.

RACHEL (CONT'D)

Y'know, despite your many, _many_ flaws, you've always

believed in me. I don't know why, but you always have.

CHLOE

First of all, fuck off? Unnecessary roast. But what's not to believe in?

You're, like... a superhero, Rach'. You put your mind to something

and you do it. It's just... how you are. How you've always been.

You belong here, this city was made for someone like you.

You're gonna take Broadway by storm, you really are.

RACHEL

I hope you're right.

CHLOE

I know I'm right. We've only been here for a day and a half

and you already landed a job and a lead role.

Do you know how low those odds are?

RACHEL

I guess they're pretty low, aren't they?

CHLOE

Hella low.

RACHEL

Thanks, Chlo'. That means a lot.

CHLOE

I'm your shoulder to lean on, too, y'know. The same way you are for me.

RACHEL

You're turn.

CHLOE

What?

RACHEL

How are _you_ feeling?

CHLOE

I, uh... I still feel a bit overwhelmed, I guess? I'm not a go-getter like you are.

RACHEL

Sure you are.

CHLOE

I'm not.

RACHEL

Chlo', are you being serious right now or are you fucking with me?

CHLOE

Fuck you, okay?

RACHEL

You drove god-knows how far in a truck that barely even functioned

through a forest that _literally_ just burned down to find my

mom, all because I asked you to. You didn't even hesitate, you just did it.

Fuck you if you don't believe in yourself.

CHLOE

The things I do for love-

RACHEL

-We just ran away from home and drove across the whole goddamn country

to build new lives for ourselves. And you have the balls to

say you aren't a go-getter? Are you... lazy? Maybe sometimes.

Sad? Frequently. But _not_ ambitious? Come on, now.

CHLOE

I don't know.

RACHEL

Well I do. Now, get yourself a motherfucking job

tomorrow and be the badass Chloe Price that I know you are.

CHLOE

Okay, okay. Fine. I'll do it, but only because you told me to.

Rachel smiles, kisses her punk on the cheek.

RACHEL

That's good enough for me.

* * *

EXT. CENTRAL PARK ZOO - SEA LION EXHIBIT - DAY

Cramped and crowded, even on a rainy day like this.

Chloe and Rachel stand together, overlook the moderately sized sea lion exhibit.

RACHEL

They almost look like ocean dogs.

CHLOE

Ocean dogs?

RACHEL

Yeah, ocean dogs.

CHLOE

Actually, I think I see it.

RACHEL

In their faces, right?

CHLOE

It's definitely the whiskers.

Rachel looks to Chloe, concerned.

RACHEL

You okay?

CHLOE

Yeah, I'm cool.

RACHEL

You've got that 'thinking about life' look you get sometimes.

CHLOE

Nice one, Hawking.

RACHEL

If you need to talk...

CHLOE

I know. Let's keep looking at the ocean dogs for now, okay?

RACHEL

Sure.

Beat.

CHLOE

Aaaaaaaand... I'm bored. How about something else?

Rachel pulls out a park map, unfolds it. Purposefully holds it away from Chloe.

CHLOE (CONT'D)

Hey, come on. Let me see.

RACHEL

Nope.

CHLOE

Please?

RACHEL

Follow me and your third eye shall be opened.

She puts the map away, grabs Chloe's hand and leads her away.

* * *

INT. CENTRAL PARK ZOO - PENGUIN EXHIBIT - MOMENTS LATER

There's gotta be a good fifty penguins behind the glass - some stand motionlessly, others waddle around or dive in and out of the waters.

Chloe and Rachel, hands intertwined, make their way to the glass.

CHLOE

Dude, these are the cutest things I've ever fucking seen.

RACHEL

Right? They're like little chubby birds.

CHLOE

Little? You see the one in the back?

RACHEL

Looks like it's called the 'King Penguin'.

Rachel signals towards the information board.

RACHEL (CONT'D)

Apparently they're the second largest species of

penguin in the whole world. I wouldn't doubt it, I mean look at the fuckers.

CHLOE

Holy shit, this is really bringing me back.

RACHEL

Bringing you back? Who are you, Amelia Earhart?

You visit penguins in a past life?

CHLOE

No, dork. Me and... and Max, there was

this game we used to play. Club Penguin?

RACHEL

I'm familiar.

CHLOE

Wow. You _really_ are a dork.

RACHEL

One of the many hidden mysteries of Rachel Amber, I suppose.

(beat)

Anyways, what were you saying?

CHLOE

What?

RACHEL

You and Max?

CHLOE

Oh, right. Nothing really, just that we played a shit ton of it.

I always liked fucking around on the island and she'd get so pissed at me.

RACHEL

Over Club Penguin?

CHLOE

Well, yeah. It's silly, but she used to play all the games and

save up coins but then I'd hop on, tell someone

to go fuck themselves and get the account banned.

RACHEL

Sounds like you were a bit of a dick.

CHLOE

One of the many hidden mysteries of Chloe Price, I suppose.

RACHEL

 _Sure_. Hidden my ass.

They watch the penguins for a moment longer than necessary.

RACHEL (CONT'D)

You still think about her?

CHLOE

Max? Sometimes, I guess.

RACHEL

Do you wanna talk about it?

CHLOE

No. Yes? I don't know. It's just- I feel bad. I think.

RACHEL

About what?

CHLOE

She's texted me, like, every day since I told her we

left Acadia and I haven't responded since Los Angeles.

RACHEL

Radio silence.

CHLOE

Yeah, exactly.

RACHEL

What she did to you.

CHLOE

Doesn't that make me hypocritical?

RACHEL

Maybe, if that's what you want it to mean.

CHLOE

Thanks? The truth stings.

RACHEL

It's only the truth if you want it to be the truth, Chloe.

CHLOE

Okay William James, tell me then: What's _your_ truth?

RACHEL

About...?

CHLOE

Am I a hypocrite?

RACHEL

I don't think so, no.

CHLOE

So what am I?

RACHEL

Hurt. Confused. Afraid.

CHLOE

Ouch.

RACHEL

You didn't let me finish.

(beat)

You're also kind and loving. Passionate and nostalgic. Really fucking hot.

Chloe smiles.

RACHEL (CONT'D)

My advice is to tie up loose ends. Like I said earlier, you have a

habit of living in the past. In my eyes, the best thing for you to do right

now is to confront her. Tell how she made you feel, and how you can't

keep feeling like that anymore. Tell her that you need to move on, and she does too.

CHLOE

I don't know if I can, Rach'.

RACHEL

You don't need to do anything, Chloe. That's just my two cents.

CHLOE

I'll put them in my tip cup.

RACHEL

Just don't buy weed with it.

CHLOE

You know me too well.

Let's keep going. I think we made the Penguins sad.

* * *

EXT. CENTRAL PARK ZOO - GRIZZLY BEAR EXHIBIT - DAY

The massive grizzly lies peacefully on the rock ground.

Chloe's totally enamored by the thing.

Rachel, totally distracted, messes with her phone.

CHLOE

Dude, do you see how big this thing is?

Holy shit, I bet it could eat me in one bite.

No response. She looks to Rachel.

CHLOE (CONT'D)

Rachel?

Rachel looks up, snaps out of the her phone's trance.

RACHEL

Huh? Yeah?

CHLOE

You good? Kinda lost you there for a minute.

RACHEL

Yeah, I'm good. My phone isn't.

CHLOE

What's up?

RACHEL

I don't know. Thing's been getting laggier and laggier since we

left Los Angeles. And location services won't turn off, no matter what I do.

CHLOE

That's weird.

RACHEL

Yeah.

(beat)

You're good with stuff like this. Any ideas, Steve Jobs?

CHLOE

Probably just a bug in the software or

something. You know how weird iPhones can be.

RACHEL

You're probably right. Nothing to get myself worked up over.

CHLOE

You never know, maybe the North Koreans bugged your phone.

RACHEL

Fuck. Shit. What do we do?

CHLOE

Honestly, I think Kim Jong Un really just

needs some cat memes in his life, don't you?

RACHEL

How the hell are you not the Secretary-General of the United Nations

yet, Chloe? I mean, I think you've just solved the North Korean crisis.

CHLOE

The President actually just reached out to me the other day.

He told me that I'm the woman for the job.

RACHEL

Did he now?

CHLOE

Thanks, Obama.

RACHEL

When do you start, Miss Secretary-General?

CHLOE

As soon as I apologize for missing the interview.

RACHEL

Luckily for us, you'll never miss another interview again. Right?

CHLOE

Yeah, yeah. I promise I'll be a good girl.

RACHEL

I'll hold you to that.

* * *

INT. TRAIN - LATE AFTERNOON

The small subway car is hella crowded. There's not even close to enough seats for everyone.

Luckily, Chloe and Rachel managed to grab a couple before the rush hour traffic.

RACHEL

Is it hot in here or is it just you?

CHLOE

It's just me.

RACHEL

Ah, okay. That's what I thought.

CHLOE

Feels like a fucking sauna.

RACHEL

Like a can of sardines.

CHLOE

Gross. To both.

RACHEL

Understatement of the year.

CHLOE

Beats those street performers from earlier.

RACHEL

No, those street performers _were_ the ones doing the beating.

CHLOE

Holy shit. I never expected to see Spider-Man

uppercut the Statue of Liberty like that.

RACHEL

I thought Spider-Man was supposed to protect us.

CHLOE

Who knows, maybe that Statue of Liberty just

happened to be the Green Goblin in disguise?

RACHEL

You know what? That whole situation makes way more sense now.

CHLOE

Or they both were a couple of tweakers

trying to get some cash for more drugs.

RACHEL

Cynical, but more likely.

Chloe's expression goes blank. She stares towards the other end of the train car.

RACHEL (CONT'D)

Chloe? You okay?

Chloe says nothing. Rachel's gaze follows Chloe, to-

A HUSBAND (20s), a WIFE (20s) and their BABY (2) in a row of seats, staring back. Angrily, they think.

 _Or is it their lack of eyebrows?_

But more unsettling than the lack of eyebrows are the weird, horn-like bumps on their heads. The baby has a pair, too.

Rachel looks away.

RACHEL (CONT'D)

It's rude to stare, Chlo'.

CHLOE

Right, sorry.

Chloe follows suit.

RACHEL

Nightmare fuel.

CHLOE

Is it weird that the baby looked scarier than the others?

RACHEL

I was thinking the same. Let's just... drop it, okay?

CHLOE

Definitely.

Long beat, until-

The train reaches its next stop. Slows down to a halt.

Doors open, and-

An old PERFORMER (70s) steps into the train. A massive, ONE-MAN-BAND instrument ensemble tied around him. Tip cup at his side.

RACHEL

Get a load of this guy.

CHLOE

Where the fuck are we, the Twilight Zone? Jesus.

RACHEL

There's no place quite like New York City.

CHLOE

Truer words have never been spoken.

The train hastily pulls out of the station.

The performer magically holds his balance, plays some bizarre music mash-up. At least ten different sounds.

CHLOE (CONT'D)

This is gonna be a long ride.

RACHEL

I don't know. I kinda like it.

* * *

EXT. TIMES SQUARE - EVENING

The sun begins to set over NYC. Still a light drizzle, too.

Thousands upon thousands of people crowd the claustrophobic Times Square sidewalks and streets.

Tons of huge electronic billboard ads blanket the surrounding buildings - so much capitalism!

Chloe and Rachel emerge from a subway's staircase, instantly in awe of the world around them.

RACHEL

Oh my God. This is-

CHLOE

-Amazing.

RACHEL

Yeah. Amazing.

The girls struggle to navigate the busy crowds, but they manage.

RACHEL (CONT'D)

Hey, look-

She points to the world-famous New Years Eve Ball on the roof of One Times Square.

RACHEL (CONT'D)

-That's the Ball thing!

CHLOE

The what?

RACHEL

New Years Eve?

CHLOE

Oh, shit. Haven't watched that in years.

RACHEL

You're missing out.

CHLOE

You think?

RACHEL

No, not really. But it is cool to see it in person!

CHLOE

Sure.

RACHEL

Don't rain on my parade.

CHLOE

Sorry to break it to ya, Rach', but it's been raining all day.

RACHEL

This rain is happy rain. Not cynical rain, like yours.

CHLOE

Fuck off.

Beat.

Still walking.

CHLOE (CONT'D)

So... where to next, Sacagawea?

RACHEL

Don't you know anything about me?

CHLOE

I know everything there is to know but I don't see how that relates to our destination.

RACHEL

What is the most important thing to me in the whole world?

CHLOE

Me?

RACHEL

Besides you, you ass.

CHLOE

Oh. Acting?

RACHEL

YES, that's the one.

(beat)

Stick close, Chloe.

CHLOE

I will. Always.

* * *

EXT. BROADWAY THEATER - NIGHT

The golden hue of Broadway lights illuminate the city around it. It looks magical. Royal.

Chloe and Rachel approach. Rachel steps closer.

She stands in absolute awe. The lights, the atmosphere, the feeling - she's overwhelmed with... a feeling even greater than joy. She's never felt anything like this.

Chloe doesn't see what Rachel sees. The golden lights are a muted yellow. The crowds of people are just more angry New Yorkers. She's happy for Rachel, sure, but that's the extent.

RACHEL

This is... I...

CHLOE

I know.

RACHEL

I just... I never expected to actually see this in person.

It was always this pipe dream, this unattainable

dream that I thought I'd never achieve.

Beat. Rachel's starstruck.

RACHEL (CONT'D)

It's like I could see the life I want to live reflecting in the glass.

I see myself on stage, performing in front of a crowd of people

one hundred times the size of a Blackwell play.

I see the crowd, enamored by the whole thing.

Tears stream down Rachel's cheeks.

CHLOE

You're destined for great things. I see it, too. I see myself, front row, cheering

you on. I see you absolutely fucking killing it up there. I see your name plastered

all over the city. You're gonna do incredible things, Rachel. I know you are.

RACHEL

We're gonna make this city our bitch.

CHLOE

Fuck the city. We're gonna make this whole world our bitch.

RACHEL

Anything's possible with you by my side.

CHLOE

And I always will be.

RACHEL

Good.

Beat. Rachel wipes her eyes.

RACHEL (CONT'D)

(chuckling)

Sorry for getting all emotional, it's just...

CHLOE

I know.

A long, intimate hug.

Then, they pull apart.

RACHEL (CONT'D)

Let's go get something to eat, huh?

CHLOE

Sure, just don't cry all over my food.

RACHEL

No promises.

* * *

INT. PLANET HOLLYWOOD - NIGHT

A film buff's wet dream made into a restaurant.

Tons of different displays with props and costumes from some of pop-culture's most loved movies decorate the walls.

Much like the rest of the city, the place is packed tight.

Chloe and Rachel managed to get one of the last empty booths.

A burger for each of them.

They occasionally take a bite or two as they talk.

RACHEL

Seems fitting, doesn't it?

CHLOE

What?

RACHEL

That we ended up here?

CHLOE

Why's that?

RACHEL

Look over there-

She points to a display case holding GOLDMEMBER'S outfit from _'Austin Powers in Goldmember'._

CHLOE

I bet you could kill a fit like that.

RACHEL

You think? I guess gold does suit the personal brand.

CHLOE

Just look out for pyrite.

RACHEL

Pyrite? I forgot how much of a science nerd you are.

CHLOE

Closet science nerd, Rach'. Get it right.

RACHEL

I guess that would probably ruin your badass rep if people found out.

CHLOE

Unless I made a bunch of TNT or some shit like that. Explosions are dope as fuck.

RACHEL

You're kinda cute when you get all nerdy like this.

CHLOE

Fuck off, don't judge me.

RACHEL

I bet that TNT would look really good covering Arcadia Bay.

CHLOE

You dream of Broadway, I dream of turning Arcadia to glass.

RACHEL

That's my third dream.

CHLOE

What's your second?

RACHEL

Our marriage.

CHLOE

Come on, it was a serious question!

RACHEL

And I gave you a serious answer!

CHLOE

I don't believe you.

RACHEL

Fuck you, doubting my dreams. Why would I lie about that?

CHLOE

I don't know, I just... never really thought about marriage.

RACHEL

Well don't worry, I'm not looking to get hitched anytime soon.

CHLOE

Sure. Good.

RACHEL

Oh, come on. You know I didn't mean it like that.

CHLOE

Whatever you say.

RACHEL

Chloe.

CHLOE

Rachel.

RACHEL

When I get the lead role of a Broadway play and we're able to

sleep on a mattress made of hundred dollar bills, we'll tie the knot.

CHLOE

We better.

RACHEL

I didn't take you for a 'ring-on-your-finger' kind of 'gal.

CHLOE

I'm not. Or at least, I don't think I am. But, I don't know.

You'd look hot in a wedding dress. Hotter out of it. But hot in it, too.

RACHEL

I bet you could pull a suit off pretty damn well. All

black, a blue carnation to match the hair. I could see it.

CHLOE

We'd be like the modern day Bonnie and Clyde but if Clyde was a woman.

RACHEL

I mean, fuck, we might as well be already.

CHLOE

Our self imposed exile from Arcadia Bay led us through the Not-So-Wild West

where we dodged calls and texts from home and escaped the

grasp of our evil parental overlords for a life we felt happy living.

RACHEL

I'd see a movie like that.

(beat)

We kinda did dodge a shit ton of calls, didn't we?

CHLOE

We did.

RACHEL

Do you feel bad about it?

CHLOE

About ducking my mom and step-dick?

RACHEL

Yeah.

CHLOE

Definitely not David, fuck that guy. But Mom... I guess, a bit.

RACHEL

You ever think about calling?

CHLOE

Sometimes? But never enough to go through with it.

RACHEL

Yeah, same here. We'll have to call eventually, you know.

CHLOE

I know. Eventually. Not anytime soon.

RACHEL

Whenever you're ready just let me know. I'll do it with you.

CHLOE

You did it with me twice yesterday.

RACHEL

If you play your cards right we'll do it again tonight.

CHLOE

How am I doing so far?

RACHEL

You'll find out tonight.

Burgers finished by now. Rachel laughs.

CHLOE

What?

RACHEL

Nothing, I just... Fuck, I love this goddamn city so much.

CHLOE

New York is weird as fuck.

RACHEL

I know I sound like the most pleasant and beautiful broken record of

all time, but how are you feeling about this? Any better than before, or...?

CHLOE

Better, for sure. Spending time with you today... this is the most

comfortable I've felt in a long time. I'm still not as confident as

you, but I'm getting there. Like we said earlier, we're gonna make this whole world our bitch.

RACHEL

If anyone could do it, it's us.

CHLOE

Exactly. It might take longer than it did in

Arcadia, but we'll own this motherfucker.

RACHEL

I'm proud of you, Chlo', I really am. You've changed so much

since we ran away and I'm so delighted with the woman you're becoming.

CHLOE

Okay, Mom. Jesus.

RACHEL

Just thought you should know! As cheesy as it sounds, it's true.

CHLOE

I feel the same way about you if it makes you feel any better.

RACHEL

As a matter of fact, it does make me feel better.

How about we get out of here, huh?

Rachel signals the WAITRESS (30s). She brings the check to the table.

Rachel slips her debit in the waiter wallet.

Chloe's uneasy about the debit, but keeps it to herself.

CHLOE

Thanks for paying.

RACHEL

Thank you for getting the next one.

CHLOE

You're a motherfucker, you know that?

RACHEL

More like a daughterfucker, I think.

Chloe laughs.

CHLOE

You're one of a kind, Rachel Amber. One of a kind.

The lovers keep joking and laughing and joking and laughing.

A night to remember.

 **END ACT THREE**

* * *

 **.**

* * *

 **ACT FOUR**

EXT. BLACKWELL ACADEMY - MORNING

A bunch of students hanging around the courtyard.

David and Max walk up the steps and head inside.

* * *

INT. BLACKWELL ACADEMY

Principal RAYMOND WELLS stands absentmindedly by the office door.

David and Max approach.

DAVID

Morning, Principal Wells.

WELLS

Mr. Madsen. I take it this is the future student you mentioned?

DAVID

That's her.

MAX

Yes, hi. I'm Max. Caulfield. Max Caulfield.

WELLS

Ah, yes. Maxine Caulfield. I remember looking over your application a few months ago.

MAX

I couldn't believe I actually got accepted, to be honest.

WELLS

Indeed. What brings you here before officially enrolling?

MAX

I was hoping to sit in on one of Mr. Jefferson's classes. He's always been

a huge inspiration of mine, and since I'm in Arcadia Bay for a little while I figured-

WELLS

-That you could just sit in willy-nilly? Luckily for you, we don't

often have future students interested in sitting in - even with Mr. Jefferson.

MAX

So it's okay if I attend a class?

WELLS

Of course.

(beat)

Follow me, Ms. Caulfield. I'll escort you there.

Max follows Wells through the school's halls like a kid in a candy shop - the place is everything she dreamed of and more.

They stop outside of a classroom near the end of the hall. Some STUDENTS are piling in already.

WELLS (CONT'D)

This is the place.

(beat)

Well, I have to get back to work. A principal's day is never done.

I hope to see you become a full-time student here in the Fall.

Wells walks back the way they came.

Max heads into class.

* * *

INT. STUDIO APARTMENT - MORNING

Chloe and Rachel lie awake in their messy apartment, still largely unpacked.

RACHEL

Another busy day.

CHLOE

You especially.

RACHEL

Hey, yours isn't a cakewalk in comparison.

CHLOE

Cakewalk? You're lucky I could walk at all after yesterday. My legs are fucking killing me.

RACHEL

I know, right? I could barely even feel them.

CHLOE

It hurts so much that it's funny.

Chloe laughs.

CHLOE (CONT'D)

I don't know why I'm laughing, I'm hurting so much but I can't stop!

Rachel laughs, too.

RACHEL

We gotta get up, Chlo'. We gotta get up.

Rachel does with only a bit of effort. Chloe, on the other hand...

CHLOE

Come on, Rach', let me sleep in.

RACHEL

Nope, not happening.

CHLOE

Please?

Rachel rips the blanket away from her and tosses it aside.

CHLOE (CONT'D)

Fuck off.

RACHEL

Get your ass up.

CHLOE

Fucking fine, okay?

She pulls herself out of bed.

RACHEL

I'm gonna shower and head out. I could trust you to find a job today?

CHLOE

Yeah, yeah. Sure.

RACHEL

We're fucked if you don't.

CHLOE

I know.

Rachel smiles, moves Chloe's hair away from her face.

RACHEL

I believe in you, okay? You can do this.

CHLOE

I know.

RACHEL

Thank you, Chloe.

Rachel kisses Chloe's forehead.

RACHEL (CONT'D)

I'll see you later, alright? Wish me luck.

CHLOE

You're gonna do great.

They hug one last time. Rachel steps into the bathroom, Chloe sits back down.

* * *

INT. BLACKWELL ACADEMY - CLASSROOM - MORNING

Max sits in the back of a relatively full class.

Mr. Jefferson sits on an empty one towards the front of the room, hands folded.

MR. JEFFERSON

To summarize, the rule of thirds is one of the most important guidelines

when it comes to crafting a quality photograph. Remember

that most modern cameras have a grid-like overlay built-in to make it easier for you

to line up the perfect shot. But for those of you that prefer vintage photography, namely

Polaroids and their recent revival in hipster culture, you

can always envision a three by three grid on your own.

The class, minus Max, looks restless.

Victoria the lone standout - she looks spaced out more than anything else.

MR. JEFFERSON (CONT'D)

This circles back to the most important rule of progression in any

artistic medium: practice makes perfect. The more

you work within the rule of thirds' guidelines, the more

comfortable you'll become behind the camera.

The bell RINGS.

Students pack their bags quickly.

Mr. Jefferson returns to his desk.

MR. JEFFERSON (CONT'D)

Remember, your rule of thirds focused photography assignment

is due on Monday, giving you four days, including

today, to work on it. Good luck, all of you.

The students shuffle out. Max stays, approaches Mr. Jefferson.

MR. JEFFERSON (CONT'D)

Ah, you must be the future photographer that Mr. Madsen mentioned.

MAX

Yes, that's me. Max Caulfield.

MR. JEFFERSON

Max Caulfield, huh? It's an artist's name, definitely. Has a certain ring to it.

MAX

Thank you, Mr. Jefferson. I hope you're right.

MR. JEFFERSON

As do I. Anyway, what brings you here?

MAX

Here?

MR. JEFFERSON

My class.

MAX

Oh, right. I'm just visiting Arcadia Bay for a little while and

figured it'd be nice to check out Blackwell before I commit.

MR. JEFFERSON

Ah, so you're thinking about applying, then?

MAX

Actually, I've already been accepted.

MR. JEFFERSON

That's great news. I do hope to see you in one of my classes next semester.

You've got that photographer's look in your eyes. I think you'd fit in quite well here.

MAX

I do too, but I'm not sure if I'll be able to or not.

MR. JEFFERSON

I suppose my class didn't exactly impress you, then?

MAX

No, of course it did. That's not it at all. It's just- I'm only here to help

out a friend's family. They think I'm the only one who could find her.

MR. JEFFERSON

Find her? Right, I suppose you're talking about Rachel Amber, then.

MAX

Well, sort of.

MR. JEFFERSON

I see. She was a wonderful student, truly. It's a shame what's happened to her.

MAX

You knew her?

Mr. JEFFERSON

Ms. Amber has been a student in a few of my classes.

Very smart, talented young woman. I do hope she's alright, wherever she is.

MAX

What about Chloe?

MR. JEFFERSON

Chloe?

MAX

Price.

MR. JEFFERSON

I think Rachel mentioned her a few times. She's missing as well?

MAX

Unfortunately. Do you know anything about their relationship?

MR. JEFFERSON

I'm sorry, but I don't know. I wish I could help more. When Rachel would

help around the classroom, she did mention Ms. Price's name. Something about

how talented she could be if she applied herself? Again, I wish I could help more.

MAX

It's alright, Mr. Jefferson. Thank you.

MR. JEFFERSON

Good luck finding them, Ms. Caulfield. I hope

everything turns out well for both of them.

MAX

Me too.

(beat)

Have a, uh, great day, Mr. Jefferson.

MR. JEFFERSON

You too, Max. Again, I look forward to seeing you this Fall.

Max smiles and leaves.

The door closes softly.

Mr. Jefferson's smile fades into a scowl.

MR. JEFFERSON (CONT'D)

Motherfucker.

* * *

INT. COFFAHOLICS ANONYMOUS - MORNING

Rachel straps her apron and nametag on.

Janice signals her behind the counter. Rachel follows.

JANICE

Alright, Ms. Amber. Welcome to your first day on the job.

RACHEL

Glad to be here.

JANICE

I like the enthusiasm already. Look, like I said during your interview, you seem to be good with people.

RACHEL

I appreciate that.

JANICE

Therefore, you're starting on register duty. I'll be working as your supervisor

for your first few shifts, help teach you how the system works and all that jazz.

RACHEL

I can handle it.

Janice smirks.

JANICE

That's what I like to hear. Let's get to work.

Customers starts shuffling in, lies start forming, noise loudens.

It's gonna be a _looooong_ day.

* * *

INT. STUDIO APARTMENT - DAY

Chloe still lazily lies in bed. Stares at the ceiling, phone in hand.

She checks the time - 12:15pm.

Chloe sighs, closes her eyes for a moment-

* * *

INT. STUDIO APARTMENT - DAY (LATER)

Chloe opens her eyes.

She checks the time again - 2:00pm.

She sighs.

CHLOE

What the fuck? I swear I just blinked.

She crawls out of bed.

Walks to the kitchen, grabs a bowl, spoon, and box of cereal.

Opens the fridge. No milk.

CHLOE (CONT'D)

Fuck me.

* * *

INT. COFFAHOLICS ANONYMOUS - DAY

Rachel works her ass off behind the counter, beads of sweat drip down her face.

Customer after customer, the long line seemingly regenerates. Never ending orders.

It's getting to her, now. Her face grows angrier and angrier as she serves each customer.

Incessant conversations about nothing blur together, sound muffled.

She's losing it. _How is this her life? She's destined for so much more._

Suddenly-

JANICE

Rachel.

Rachel snaps out of her trance.

RACHEL

Yeah?

JANICE

Your shift's been over for ten minutes and I don't pay overtime.

RACHEL

My... what?

JANICE

You're done for the day. Go home.

She hands her a piece of paper. Rachel looks over it.

JANICE (CONT'D)

Your schedule. Look it over. If you're on for a day you

know you can't work, let me know and I'll work on fixing it.

RACHEL

Sure, will do.

JANICE

You did good today, kid.

Rachel smiles, clocks out, heads to the door and-

* * *

EXT. COFFAHOLICS ANONYMOUS - MOMENTS LATER

She leans against a nearby brick wall.

Sighs, relieved.

Pulls out her phone, navigates to Chloe.

[NOTE: Text messages are in _italics_.]

RACHEL (TEXT)

 _Hey, Junkyard Queen._

CHLOE (TEXT)

 _how'd it go_

RACHEL (TEXT)

 _I don't know how to answer that._

RACHEL (TEXT) (CONT'D)

 _Find a job yet?_

CHLOE (TEXT)

 _no_

RACHEL (TEXT)

 _Are you going to?_

CHLOE (TEXT)

 _yea_

CHLOE (TEXT) (CONT'D)

 _oh and we're out of milk_

RACHEL (TEXT)

 _Sooooo... Buy some?_

CHLOE (TEXT)

 _nah i'll just starve_

Rachel slips her phone in her pocket.

RACHEL

Chloe Price. Sometimes even I don't know what to do with you.

She checks the time, walks off.

* * *

INT. DARK ROOM - DAY

Mr. Jefferson stands over a computer.

A red blip marked 'RACHEL' on a map blinks repeatedly over New York City.

MR. JEFFERSON

She hasn't moved much these past few days.

NATHAN

Still New York?

MR. JEFFERSON

For now, at least. We have a problem.

NATHAN

What's that?

MR. JEFFERSON

Max Caulfield. Some faux-photographer bitch is

burying her nose where it doesn't belong. You know her?

NATHAN

No, never heard of her.

MR. JEFFERSON

She sat in on one of my classes today. Said she's looking for

Rachel and the punk slut she was fucking. Chloe's her name?

NATHAN

Chloe Price.

MR. JEFFERSON

That's it.

(beat)

I need you to keep an eye on this 'Max' girl. Don't do

anything crazy, just watch. Make sure she doesn't learn anything.

NATHAN

You can count on me, Mr. Jefferson.

MR. JEFFERSON

Good. Oh, and let Victoria know we're

shooting tonight. Tell her to wear something red.

NATHAN

On it.

MR. JEFFERSON

Oh and- I gotta head to Blackwell to grade

some papers for a class of mine. Don't call. Text.

NATHAN

Will do.

Nathan leaves.

MR. JEFFERSON

And use the burner!

Mr. Jefferson stares at the computer screen.

* * *

EXT. APARTMENT BUILDING - DAY

Chloe steps out of the building, walks across the parking lot.

* * *

EXT. NEW YORK CITY - DAY

She slowly walks down some boulevard somewhere nearby.

Shop after shop, she checks for "NOW HIRING" signs.

Nothing so far, until-

Some clothing boutique. She peeks through the window - place is empty and boring.

CHLOE

Don't think so.

She keeps walking.

MONTAGE:

\- Donut shop is hiring. Chloe shakes her head, keeps going.

\- McDonald's. She stank faces and keeps moving. No way.

\- She doesn't even bother stopping at a souvenir shop.

BACK TO SCENE

She stops in front of a tattoo parlor. Now hiring.

CHLOE (CONT'D)

I could get down with this.

She steps inside.

* * *

INT. TATTOO PARLOR - MOMENTS LATER

She talks to the owner, MATT KING (30s). Dude's tatted head to toe, looks like a real badass.

MATT

We could always use some new talent around here.

CHLOE

And I'm the right fit for the job.

He looks at her arm.

MATT

Nice ink. You design it?

CHLOE

Yeah.

MATT

Pretty sweet, dude.

CHLOE

Thanks.

MATT

So, about this job situation...

CHLOE

I really need it.

MATT

Luckily we're hiring. You have your license with you now?

CHLOE

License?

MATT

Yeah.

CHLOE

I don't.

MATT

Well I can't hire you without one. I'm also gonna need a portfolio

of your work and proof that you worked an apprenticeship for a few years.

CHLOE

Are you fucking with me?

MATT

No? I don't think I am.

CHLOE

I need all that stuff to do this?

MATT

Well... yeah, actually. The apprenticeship isn't mandated by law

but I only hire experienced artists. And a portfolio for obvious reasons.

CHLOE

Fuck me.

MATT

Look, if you're ever looking for some new ink I'll give you a discount.

CHLOE

Thanks.

MATT

Chin up, punk. You can always come back in

a few years when you've got the know-how.

CHLOE

See you around, dude.

MATT

Good luck out there.

Chloe leaves.

* * *

EXT. NEW YORK CITY - DAY

She sighs, leans against a wall.

Checks the time - 4:30pm.

CHLOE

I need some weed.

She walks back the way she came.

* * *

EXT. OLD MILL RUINS - DAY

Frank drags a cooler from his RV to the lawn chair.

Takes a seat, grabs a bottle of beer, pours a bit out on the grave.

He sighs, takes a long sip.

FRANK

I didn't know where else to go. Sorry things ended the

way they did, and sorry for not visiting as often as I should've.

He kills the rest of the bottle, tosses it aside.

FRANK (CONT'D)

I loaned money to that Chloe girl. You remember her.

Three grand. And... she's gone. Disappeared

with Rachel Amber, never to be heard from again.

He grabs another bottle, leans back.

Suddenly, DAMON MERRICK (mid 30s) puts his hand on Frank's shoulder.

DAMON

You know what I'd do.

FRANK

I'm no killer.

DAMON

You sure about that?

FRANK

I'm not sure about anything anymore.

Beat.

FRANK (CONT'D)

Without Rachel-

DAMON

-Shut the fuck up.

(beat)

Three grand, huh? Still too soft, after all these years.

FRANK

What do I do, Damon?

DAMON

You sure she's gone?

FRANK

I'm sure.

DAMON

Her mom still lives here, right?

FRANK

Joyce? Yeah, just saw her at the Two Whales the other day.

DAMON

Good.

FRANK

Why's that?

DAMON

Someone's gotta pay you back.

Frank sighs. The feeling on his shoulder dissipates - he's all alone again.

He takes a swig of the beer, pours an equally large one on Damon's grave.

 **END ACT FOUR**

* * *

 **.**

* * *

 **ACT FIVE**

INT. THEATER - DAY

Rachel grabs a donut and a cup of coffee from the back table.

Other THEATER STUDENTS mingle around the room.

GUS OKOYE (21), master of streetwear, approaches Rachel. Grabs a donut of his own.

GUS

Intermission on the first day. Strange.

RACHEL

I'll take any chance at free donuts as I can get.

GUS

Rachel, is it?

RACHEL

Rachel Amber.

GUS

Artsy.

RACHEL

You're, uh... shit.

GUS

Forgot already?

RACHEL

No, no. I got it, don't tell me.

GUS

Icebreaker activity? I paint cats in my free time?

RACHEL

Right! Gus?

GUS

Gus Okoye.

RACHEL

Sounds strong for a cat painter.

GUS

Hey, I don't tell you how to live your life.

Beat.

GUS (CONT'D)

You wanna go out for drinks sometime?

RACHEL

You're a bold one, aren't you?

GUS

On occasion.

RACHEL

I definitely appreciate boldness but I'm in

a relationship, so I'm gonna have to say no.

GUS

As am I.

RACHEL

There's nothing attractive about

one-uppers, Gus. Or cheaters. Remember that.

GUS

So that's what you think? That every

guy in the world is trying to attract you?

RACHEL

Fuck off. Not looking to get psychoanalyzed, asshole.

GUS

So who's the lucky guy?

RACHEL

Girl, and none-of-your-goddamn-business is her name.

GUS

I like your style, Rachel Amber.

We've got more in common than you think.

RACHEL

Most do, and I highly doubt that.

GUS

I'll tell you what. My boyfriend and I are hitting the bar on Saturday

and we'd love for you and none-of-your-goddamn-business to tag along.

RACHEL

Boyfriend?

GUS

Like I said, we've got more in common then you think.

(beat)

So, you down, or...?

RACHEL

I'll try to talk her into it.

GUS

Doesn't drink?

RACHEL

Doesn't like meeting new people.

GUS

I see.

MS. DELILAH WITTROCK (30s), the spunky drama teacher steps inside.

DELILAH

Alright everyone, back to work.

* * *

EXT. BLACKWELL ACADEMY - DORMITORIES - DAY

Max wanders the beautifully paved pathways by the Prescott dormitories.

Nathan and VICTORIA CHASE sit together on a bench.

Nathan's anxious as always. Victoria, though... she's out of it. Looks like she hasn't slept in a few days.

VICTORIA

Can't it be another color? Red is just so... cliché.

NATHAN

It's better for all of us if you do what he says.

VICTORIA

Fucking fine. I guess.

Max approaches.

MAX

Um, hi.

NATHAN

And who the hell are you?

MAX

I'm Max. Caulfield.

NATHAN

New here?

MAX

Kind of.

VICTORIA

What do you want?

MAX

I'm, uh.. I'm looking for some

friends of mine. Maybe you know them?

VICTORIA

Let me guess, another one of Rachel's bitches?

MAX

Actually, no. I've never met her.

NATHAN

So why the fuck do you care?

MAX

I'm more focused on finding Chloe.

NATHAN

Chloe-fucking-Price. She owe you money or something?

VICTORIA

Sluts, the both of them.

MAX

Look, I just... if you know where they might've went...

VICTORIA

Wherever they went, I hope they stay gone.

NATHAN

Hopefully in a fucking ditch somewhere.

VICTORIA

Oh my god, Nathan, don't get my hopes up.

Max is pretty shaken up at this point.

NATHAN

Fuck off, Max Caulfield.

VICTORIA

Yeah, we're kinda busy here?

MAX

Sorry.

She walks off, defeated. Nathan and Victoria snicker.

Nathan looks over his shoulder. Max is gone, out of sight.

VICTORIA

What a fucking loser.

NATHAN

Not wrong about that. I gotta take care of some shit.

He gets up.

NATHAN (CONT'D)

Dark room. Tonight. Don't be late, you know how he gets.

VICTORIA

Yeah.

Nathan walks off.

Victoria sits in silence.

* * *

EXT. BLACKWELL ACADEMY - MOMENTS LATER

Max reaches the main campus.

KATE MARSH (18) sits at a bench alone, sketch pad in hand.

Max approaches, still not recovered from the last confrontation.

KATE

Hey, you okay?

MAX

I'm fine.

KATE

Looks like you saw a ghost.

MAX

If ghosts have blonde hair and cashmere sweaters.

KATE

Victoria Chase.

MAX

Is she always mean like that?

KATE

Yeah, I guess so. But I don't hold it against her. From

what I see, it comes from a place of pain and darkness.

MAX

It makes sense, but...

KATE

That's no excuse, I know. Just an explanation.

MAX

Right.

KATE

Not that it's... not nice to meet you or anything, but... who are you?

MAX

Oh, right. Sorry. I'm Max Caulfield.

KATE

Kate Marsh. It's nice to meet you, Max.

They shake hands.

KATE (CONT'D)

What brings you to Blackwell Academy?

MAX

I'm actually looking for someone. A couple of people, I suppose.

KATE

Rachel and Chloe? I heard they're missing.

MAX

I'm here to gather clues, leads... anything.

Do you know where they could've gone?

KATE

Nobody knows much, but Los Angeles seems most

likely. Rachel Amber is a great actress. Maybe New York?

MAX

What do you know about them?

KATE

Rachel was born to be a star. Talented, motivated, kind. Maybe

a bit of a chameleon, but isn't that a good thing for an actress? And Chloe...

(beat)

I haven't seen her around much since her expulsion. But she was

always nice to me. Quiet and angry, but kind, even if

she didn't always know how to show it.

MAX

What... were they?

KATE

What do you mean?

MAX

Well, were they...?

KATE

Oh. Yes, I think so. They were inseparable around here. Secretive, but

people tend to notice things when it comes to Rachel Amber.

MAX

Okay.

KATE

Again, I don't know much about them but they seemed to be in

love. True love, at least from the outside. I hope you find them.

MAX

Me too.

Max gets up, starts to walk away, until-

KATE

Are you transferring here?

MAX

In the Fall, maybe.

KATE

Okay.

She writes her name and number on a piece of paper, tears it from her sketch pad. Hands it to Max.

KATE (CONT'D)

You seem like a kind spirit. We should be friends.

MAX

That sounds nice.

KATE

Keep in touch, Max.

MAX

Sure thing, Kate.

Max walks away. Kate gets back to work.

* * *

EXT. NEW YORK CITY - DAY

Chloe walks into a shady-as-fuck alleyway.

In it, a DEALER (40s) stands, well, shadily.

DEALER

What?

CHLOE

Uh, weed?

DEALER

How much?

CHLOE

Just a dime bag.

DEALER

Twenty-five.

CHLOE

Twenty-five? Fuck off.

DEALER

Twenty-two.

CHLOE

Fifteen.

The dealer ponders for a second.

DEALER

Eighteen.

CHLOE

Deal.

She hands him the cash, he hands her the baggie.

 _Smooth as fuck._

She slips the baggie into her pocket.

CHLOE (CONT'D)

Not quite Frank, but you'll do.

DEALER

Frank?

CHLOE

Old dealer. Kind of a shitshow.

DEALER

Okay.

CHLOE

Well, I guess Frank would probably wanna beat my ass if

he saw me again so I think I prefer you, actually. Long story.

DEALER

Sure.

CHLOE

Anyways, I'll be back.

DEALER

Cool.

She looks at him funny, walks off. _Strange dude._

* * *

INT. PRICE HOUSE - KITCHEN - DAY

Joyce scrapes some chopped up meat and veggies into the slow cooker.

Her cell phone BUZZES.

She checks the caller ID - JAMES AMBER.

She answers immediately.

JOYCE

Mr. Amber?

JAMES (V.O.)

Ms. Price. You have a minute to chat?

JOYCE

Of course. Always. About...?

JAMES (V.O.)

I think I found our girls. Or where they are now, at least.

Joyce's jaw drops.

JOYCE

Go on.

* * *

EXT. BLACKWELL ACADEMY - PARKING LOT - DAY

Max meets up with David by his American muscle.

DAVID

Anything?

MAX

Nothing we didn't already know.

DAVID

Figures.

David sighs.

DAVID (CONT'D)

Hop in. Junkyard time.

They both get in the car and drive off.

Nathan watches from the walkway overlooking the lot.

* * *

INT. STUDIO APARTMENT - DAY

Chloe sits on the bed, weed and roll-up on the end table.

She gets to work, and-

She's fast. Lights up, takes a long drag.

CHLOE

Shit, right.

Chloe gets up, opens the window.

Back to the bed, she lies down.

* * *

INT. DAVID'S CAR - EVENING

David and Max sit together in silence.

Nothing but awkwardness, until-

DAVID

This is the place.

Max looks out the window. A dark and spooky mess of trashed cars and other metals.

MAX

Doesn't look like much.

DAVID

It isn't.

Silence, again.

MAX

Thank you for the Mr. Jefferson thing. I appreciate it.

DAVID

I don't much like the man, but I knew it'd mean a lot to you.

MAX

It did.

More silence. These two weren't made for conversation.

MAX (CONT'D)

I'll find her, David, and bring her home.

DAVID

I want to believe you, but...

MAX

You can't.

DAVID

I can't.

MAX

I'm sorry.

DAVID

Joyce told me about what happened between you two. I... I can

never forgive you for what you did to my step-daughter.

But I respect you for being here for her now, in her time of need.

MAX

I know I messed up. I should've been there for her back

then, too, not just now. But I wasn't. That'll

change from now on. I'm not going anywhere.

DAVID

I hope you're right, Max.

Max opens the car door.

DAVID (CONT'D)

Junkyard isn't safe at night.

MAX

I know.

DAVID

Why not wait until after my shift? I'll go with you.

MAX

No, David. Thank you, but it's okay. Really.

DAVID

Max...

MAX

I'll be careful.

DAVID

I know you will. But sometimes, that just isn't

enough. A few more hours and I'll be there with you.

MAX

I'm sorry, David. It might not be safe, but... this

is just one of those things I need to do alone.

DAVID

You sure?

MAX

I'm positive. One-hundred percent.

David sighs.

DAVID

Fine. But if anything happens-

MAX

-I'll call you.

DAVID

Good girl. Stay safe out there, okay? We need you here.

MAX

I'll see you soon.

* * *

EXT. JUNKYARD - EVENING

Max gently closes the car door.

Nods to David, he nods back and drives off.

It's just Max now. All alone.

She steps into the junkyard, through the gates.

Across the railroad tracks, Nathan stands at the edge of the dark forest.

* * *

EXT. THEATER - EVENING

Gus leans against the building's brick walls, lit cigarette between his fingers.

Rachel steps outside, leans next to him.

RACHEL

Shitty habit.

GUS

For a shitty guy.

RACHEL

Could be worse.

GUS

Can say the same for everyone.

RACHEL

Not everyone.

Gus takes a drag.

GUS

Don't forget about our bar double date.

RACHEL

No way I could forget something as important as that.

GUS

What's her name, anyways?

RACHEL

Chloe.

GUS

What's she into?

RACHEL

I don't know anymore.

GUS

Tough sex life, huh?

RACHEL

That's not what I was talking about, don't be an asshole.

GUS

Can't help it. Stock broker? Car saleswoman? Teacher in training?

RACHEL

Unemployed.

GUS

Ouch.

RACHEL

She was supposed to get a job today.

GUS

She didn't?

RACHEL

Nope.

GUS

You just need to help her find what she's passionate about.

RACHEL

Weed, booze and sex.

Gus chuckles.

GUS

Sounds like a real knockout.

(beat)

Everyone's got their own... _thing_.

RACHEL

She loved tagging shit back home, before we made it out here.

GUS

Ah, a street artist then.

RACHEL

Hard to make a career out of that.

GUS

Not impossible. Ever try pushing her to do the rich

man's art instead? Painting, drawing, that kind of thing?

RACHEL

That _would_ make her more productive than she is now.

GUS

And with Etsy and websites like that, anyone

with talent could make a go at it.

Rachel ponders for a second.

RACHEL

Not a bad idea. Artistic, but also legal.

GUS

Exactly. And luckily for you, your new best

friend happens to work the register at Michaels.

RACHEL

Employee discount?

GUS

Thirty percent off, sometimes forty.

RACHEL

Fucking legend, Gus. Lead the way.

They walk together down the near-empty streets, laughing and joking the whole way.

* * *

EXT. JUNKYARD - NIGHT

Max slowly walks through the vehicular graveyard, her phone's flashlight illuminates the dark world in front of her..

She just... takes in the surroundings. She's at peace.

Signs from old restaurants, an abandoned boat and a trashed school bus stand out from the rest.

Max continues on, almost aimlessly.

Soon after, she stumbles on a small shack nestled between trashed cars and other rubble.

She steps inside.

* * *

INT. JUNKYARD SHACK - NIGHT

Max's flashlight points her to a lantern.

Lantern on, flashlight off.

A dartboard hangs on the wall. Picture of David at the center, eyes crossed out with red marker.

Tallies below it, labeled "RACHEL" and "CHLOE". Looks like Rachel did most of the winning.

A trippy elephant tapestry, lazily stuck behind a couch. One side looks like it's about to detach itself from the wall.

Graffiti on the opposite wall. Reads:

 _"Chloe was here."_

 _"Rachel was here."_

Max runs her hand over the wall.

MAX

So this is their home away from home.

She gently searches for any sort of evidence. Anything.

Trash bins shuffled through, torn pieces of paper examined, couch cushions lifted and placed back...

Nothing.

MAX (CONT'D)

Damn it!

She sits down on the couch, gazes at the graffiti.

MAX (CONT'D)

She took my place, didn't she, Chloe?

No answer, obviously.

MAX (CONT'D)

I'm sorry. I'm glad you found someone, but... I should've been here.

She leans her head back, stares at the ceiling.

* * *

INT. STUDIO APARTMENT - NIGHT

Rachel slowly creeps into the apartment, closes the door behind her in silence.

Easel box and a few canvases in her arms.

Chloe's in the bathroom. _Perfect._

Rachel slips the goodies inside a coat closet.

As she shuts the door...

Chloe steps out of the bathroom, still towel-drying her hair.

CHLOE

Home late.

RACHEL

Long day.

She hangs her jacket and bag on the chair.

RACHEL (CONT'D)

It's loud as fuck in here.

CHLOE

Shit knocked me on my ass.

RACHEL

Do you really think lighting up was a good idea?

CHLOE

I had the window open.

RACHEL

It smells like a fucking dispensary.

CHLOE

It was a stressful day. Get off my back.

RACHEL

Get off your back? Seriously? I'm basically

working two jobs right now. You're on my back!

CHLOE

Fuck you. I tried to find one today, Rach'.

Shit just... didn't work out.

RACHEL

Yeah, I bet you did.

CHLOE

What's that supposed to mean?

RACHEL

I found a job the day we moved here and you're

telling me you couldn't find anything at all?

CHLOE

There were a few things here and there. I tried to

get in a tattoo parlor but apparently I'm unqualified.

RACHEL

I told you to look for a job, not a career. I worked an eight

hour shift at a coffee shop for fucks sake. You think

that's what I want to be doing right now?

CHLOE

So I have to settle for the first shitty job

that comes my way because that's what you did?

RACHEL

I didn't settle for anything, Chloe!

We _need_ these shitty jobs. We _need_ money.

CHLOE

I'm better than dead-end shifts

at a fucking convenience store, Rachel.

RACHEL

Okay, so minimum wage jobs are beneath you, but not me?

CHLOE

I never said that.

RACHEL

That's exactly what you said. You're a god damn adult.

Act like it and get a fucking job. We didn't come here

for you to sit on your ass and smoke weed all day.

CHLOE

So what _did_ we come here for, huh?

RACHEL

FUCK!

She grabs a glass off the table and flings it at the wall.

It SHATTERS, glass shards everywhere.

RACHEL (CONT'D)

Grow the fuck up, Chloe! You

really have to be responsible for once!

(beat)

I need to be alone.

Rachel storms into the bathroom.

Chloe sits on the bed, buries her face into her hands.

CHLOE

(to herself)

Fuck my life.

* * *

INT. JUNKYARD SHACK - NIGHT

Max's face is buried in her hands.

MAX

Fuck my life.

Her phone VIBRATES.

She scrambles for it - a call from Joyce.

Max answers.

MAX (CONT'D)

(over phone)

Hi, Joyce. Everything okay?

JOYCE (V.O.)

I just got off the phone with Mr. Amber.

MAX

(over phone)

You did?! Did he find them?

JOYCE (V.O.)

It's hard to say for sure, but Rachel used an ATM in New York City yesterday.

MAX

(over phone)

New York? Are we sure they're still there, or...?

JOYCE (V.O.)

Mr. Amber said that this is the first time Rachel's used an ATM since they left.

MAX

(over phone)

Let's talk about this more when I get back to your house. I'll keep searching the junkyard, just in case.

JOYCE (V.O.)

Thank you, Max. We're so close to bringing them home, I can feel it.

MAX

(over phone)

I hope so too, Joyce.

Max hangs up and smiles.

* * *

EXT. JUNKYARD - NIGHT

Nathan slooooowly creeps through the dumping grounds.

Light shines out of a small shack. He carefully approaches.

Nathan stops a ways away from it, but close enough.

MAX (O.S.)

(over phone)

Hi, Chloe. It's Max. I figured I'd try calling but I knew you wouldn't

answer. I'm at the junkyard right now. I could see why you like it here, even though I'm

a bit scared being on my own. It's so quiet, peaceful. Maybe even nostalgic?

Like our old secret pirate hideouts when we were kids. Call me, okay? Please.

Nathan scoffs, takes a seat in a little rust cubby, all senses trained on the shack.

NATHAN

(to himself)

It's gonna be a long fucking night.

He sighs.

* * *

INT. STUDIO APARTMENT - NIGHT

Chloe stands alone in the "kitchen".

Slips an oven mitt on, removes a tray of pizza, places it on the stove.

Rachel finally emerges from the bathroom.

CHLOE

Reheated some pizza.

RACHEL

Thanks.

Rachel takes a seat at their tiny dining table.

Chloe brings a couple slices for them both.

They start eating, awkward silence weighs them down.

Rachel looks at the broken glass, neatly piled up against the wall.

RACHEL (CONT'D)

Sorry.

CHLOE

Me too.

They keep eating.

RACHEL

It's been a hard day.

Chloe nods.

CHLOE

I know, and I made it harder on you. I'm sorry.

RACHEL

There's no need to apologize, Chloe. I'm no angel either.

CHLOE

Ain't that the truth.

RACHEL

Shut up.

Chloe smiles.

CHLOE

I'm gonna do better.

RACHEL

Me too.

CHLOE

It looks like we both have a lot of growing up to do.

RACHEL

And there's no one else I'd rather grow up with.

They've barely made progress on the pizza but they both stop eating anyway.

CHLOE

You're right, you know.

RACHEL

About?

CHLOE

I could've tried harder today. It just... these kinds of jobs make

me feel kinda insignificant, you know? More than I already do.

RACHEL

You're not insignificant, Chloe. You matter. Not just to me.

CHLOE

Bullshit.

RACHEL

You have a lot to contribute to this world. Once you- we

figure our shit out... we'll be a force to be reckoned with.

CHLOE

I don't know if I can.

RACHEL

I don't know if I can, either. But we've gotta try, right?

CHLOE

I don't know. How are we supposed to figure this shit out? If we fuck up...

RACHEL

I know. There's no safety here. Failure means it's all over. Shit's hard.

CHLOE

Yeah.

RACHEL

Remember who we are, Chloe. What we stand for.

We don't take shit from anyone or anything.

Chloe perks up.

CHLOE

You're right.

RACHEL

I usually am.

(beat)

Oh, I got you a little something. Meant to give it to you sooner, but...

Rachel heads to the closet, opens it, starts gathering everything she bought.

CHLOE

Heading back in the closet something?

RACHEL

Thought maybe I'd find you in there.

Rachel finally takes everything out.

A few different things:

A small assembly-required easel in a box, a decent assortment of colored paint tubes, some brushes of different sizes and shapes, a wooden palette and a few canvases.

CHLOE

What's all that?

RACHEL

You've always been a creative type, so I figured...

Chloe walks over, kinda surprised at all this.

RACHEL (CONT'D)

...Maybe this would help you on your path of self discovery. You've

always been great at graffiti. It's like that, but way less illegal.

CHLOE

Rachel, I...

RACHEL

You're welcome, Chlo'. What're you gonna paint first?

CHLOE

You.

Rachel looks like a deer in headlights.

Chloe realizes... _Mark-fucking-Jefferson._

CHLOE (CONT'D)

Shit. I shouldn't have... fuck. You

don't have to, forget I said anything.

Rachel snaps back to reality - she looks more determined now than before.

RACHEL

No, I want to.

CHLOE

Wait, really? Are you sure?

RACHEL

I am. I need to grow up too, right? I need

closure. It's time to face my past, once and for all.

They both smile.

CHLOE

Okay. Let's get to work.

* * *

INT. JUNKYARD SHACK - NIGHT

Max lies on her back on the ugly-ass couch.

The lantern light flickers a bit - flame dims.

Max stares at the ceiling, her eyes struggle to stay open.

Soon after-

She falls asleep.

Her phone VIBRATES on the nearby table.

CLOSE ON: MAX'S PHONE

A text message appears-

CHLOE (TEXT)

 _listened to ur message, this is_

 _me texting back. i dont do calls_

BACK TO SCENE

The screen dims.

Max sleeps soundly.

* * *

EXT. JUNKYARD - NIGHT

Nathan peers through the shack's tiny window.

He pulls out his burner phone.

CLOSE ON: NATHAN'S PHONE

Navigates to a message thread labeled: DARK ROOM.

NATHAN (TEXT)

 _Tracked the bitch to the junkyard._

 _Sleeping like a baby. Don't think she found shit._

BACK TO SCENE

He slips the burner in his pocket.

He walks away from the shack - towards the forest.

* * *

EXT. BLACKWELL ACADEMY - PARKING LOT - NIGHT

David patrols the lot.

Jefferson walks by. Quickly takes out his phone, smirks, and puts it away.

David and Jefferson exchange nods.

Then-

David watches as Jefferson gets in his car and drives off - tires SCREECH.

* * *

INT. STUDIO APARTMENT - NIGHT

A bunch of wooden easel pieces lie on the hardwood floors.

An open instruction manual, a few pages in.

Chloe and Rachel share laughs and inaudible jokes as they struggle to piece this thing together.

* * *

EXT. PRICE HOUSE - NIGHT

Frank's RV sits still down the block a ways, Price residence in clear sight.

* * *

INT. FRANK'S RV - NIGHT

Frank pulls Damon's knife from the counter, slips it in his waistband.

He looks out the window, towards the Price residence. Sighs.

Damon puts his hand on Frank's shoulder, again.

Frank's expression shifts from scared to determined.

The three-thousand dollar debt echoes through his mind.

* * *

INT. DARK ROOM - NIGHT

Victoria sits on the couch, a beautiful red dress and even redder lipstick.

Jefferson walks in, points to the staging area.

Victoria nods, walks there and sits on the white floor.

Jefferson tosses his jacket and work bag on the couch.

He steps in front of his computer. Then, grabs a needle and some sort of bottle, sucks some of the liquid into it.

Flicks the top of the needle, walks over to Victoria. Bumps the table ever so slightly on the way.

The screen BRIGHTENS.

CLOSE ON: COMPUTER SCREEN

A ticket confirmation page. Reads:

"Depart Portland, Oregon to New York, New York"

"Monday, July 22, 2013"

The date at the bottom right corner reads: 5/16/2013

 **THE END**


End file.
